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EDITEDBYW\LTER 
SHAWSPARROW 


NEW    YORK  :    A.    C.    ARMSTRONG    &>    SON 

3   &   5,  WEST  EIGHTEENTH   STREET 

LONDON :    HODDER  W  STOUGHTON 


Butler  and  Tanner^  The  Selvjood  Printing  Works,  Froine,  and  London 


\ 


i.iDrary 


FOREWORD 


-__^=— _^HE  aim  'of  the  present  book  is  to  continue  the 
'^^^m  scheme  of  work  begun  in  "  The  British 
MSJK^tS^  Home  of  To-Day."  In  that  volume  the  sub- 
ject ranged  from  the  furnishing  of  large  and 
expensive  houses  to  the  illustration  of  import- 
ant country  mansions  designed  and  built  for 
the  rich.  To-day,  in  this  book  on  The  Modern 
Home,  an  appeal  is  made  to  a  very  much  wider 


pubhc  ;  and  as  the  contributors  are  all  men  of  eminence  in  their 
professions,  the  abundant  illustrations  draw  attention  to  various 
types  of  the  best  contemporary  design  in  British  domestic  archi- 
tecture and  decoration. 

Cottages  of  many  kinds  are  represented,  and  they 
are  placed  in  contrast  both  with  small  houses  and  with  homes 
of  a  larger  size,  requiring  for  their  maintenance  a  staff  of  four 
or  five  indoor  servants.  Thus  the  aim  of  the  book  travels  from 
simple  cottages  to  houses  that  would  suit  the  professional  man 
and  the  man  of  business,  either  as  homes  of  retirement  in  which 
to  pass  the  final  years  of  their  life,  or  else  as  places  of  rest  for 
the  week-ends  or  from  the  street  noises  of  a  house  in  town. 

As  the  understanding  of  an  architect's  elevations 
and  plans  is  a  thing  of  the  utmost  importance,  and  as  the  great 
majority  of  people  are  not  attracted  at  all  by  technical  designs 
in  black  and  white,  an  attempt  is  made  here  to  encourage  the 
study  of  a  difficult  subject  by  reproducing  in  flat  tints  a  series 
of  no  fewer  than  twenty-two  coloured  sheets  of  architectural 
working  drawings.  This  reproductive  work  may  be  described 
as  a  new  and  original  experiment.  It  has  never  been  used  on 
so  large  a  scale,  and  it  appears  for  the  first  time  in  a  popular 
book.  It  has  been  carried  out  by  Messrs.  Carl  Hentschel,  Limited, 
who  with  great  care  and  patience  have  mastered  a  good  many 
difficulties  which  other  blockmakers  have  looked  upon  as  in- 
superable, except  in  a  single  technical  plate  for  an  expensive 
book.  A  beginning  has  thus  been  made,  and  the  next  attempt 
will  give  further  progress. 

It  is  a  pleasure  to  acknowledge  with  grateful  thanks 
the  help  so  kindly  given  by  all  the  contributors,  and  by  the  Hon. 
Alfred  Lyttelton,  Mr.  Alexander  Wedderburn  and  Mr.  Augustus 
Littleton,  Mr.  Fred.  Burridge,  R.I.,  Mr.  Reginald  Blunt,  Mr. 
Albert  Stevens  and  Mr.  Harold  Stevens,  Mr.  T.  Hamilton  Crawford, 
Mr.  W.  James,  Mr.  W'inton  Newman  and  Mr.  F.  Mason  Good. 

WALTER   SHAW   SPARROW. 


^ 


823010 


CONTENTS 


PAGE 


Foreword   5 

Special  Plates  in  Colour  and  their  Contributors  7 

List  of   Contributors  and  Table  of  Black  and 

White  Illustrations 9 

Chapter   I. 

"The  Home  from  Outside."     By  W.  H.  Bidlake, 

M.A.,  Architect 13 

Illustrations  to  Chapter  1 33  to  96 

Chapter   II. 

"  The   Interior  and  its  Furniture.'     By  Halsey 

Ricardo,  Architect 97 

Illustrations  to  Chapter  II 105  to  136 

Chapter    III. 

"  Some  Decorative  Essentials."     By  John  Cash, 

Architect I37 

Illustrations  to  Chapter  III 145  to  160 

Chapter    IV. 

"  Sanitation."  By  John  Cash,  Architect.  With 
Two  Illustrations  showing  a  Drainage  Plan  and 
the  Essential  Features  of  Types  of  Fittings 161 


SPECIAL  PLATES  IN  COLOUR  AND  THEIR 
CONTRIBUTORS 

Ernest  Newton,  Architect. 

HOUSE  NEAR  VVINCHFIELD,  HANTS.    FROM  A  WATER-COLOUR  BY  T.  HAMILTON  CRAW 
FORD.     PLATE  IN  COLOUR  (Frontispiece). 

Geoffry  Lucas,  Architect. 

COTTAGES  AT  SOUTH  MYMMS.     PLATE  IN  COLOUR  (TO  FACE  p.  12). 

A.  N.  Prentice,  Architect. 

DESIGN  FOR  A  PAIR  OF  COTTAGES.  PLATE  IN  COLOUR  FROM  THE  ORIGINAL  DRAW- 
INGS (BETWEEN  p.  16  AND  p.  17). 

Horace  Field,  Architect. 

PAIR  OF  COTTAGES  AT  BR.4MLEY.  DOUBLE-PAGE  PLATE  IN  COLOUR  (BETWEEN  p.  16 
AND  p.  i;). 

Lionel  F.  Crane,  Architect. 

PAIR  OF  SEMI-DETACHED  WOODEN-FRAMED  COTTAGES.  PLATE  IN  COLOUR  (BETWEEN 
p.  16  AND  p.  17). 

John  Belcher,  A.R.A.,  Architect. 

SMALL  HOUSE  AT  ROYSTON.     PLATE  IN  COLOUR  (TO  FACE  p.  20). 

Edwin  L.  Lutyens,  Architect. 

A  ROW  OF  COTTAGES.  DOUBLE-PAGE  PLATE  IN  COLOURS.  THE  DRAWING  BY  HAROLD 
STEVENS  (BETWEEN  p.  24  AND  p.  25). 

E.  J.  May,  Architect. 

HOUSE  AT  ROTHERFIELD,  SUSSEX.  PLATE  IN  COLOUR  FROM  THE  ORIGIN.U,  DESIGN 
{BETWEEN  p.  32  and  p.  33). 

Ernest  Newton,  Architect. 

HOUSE  AT  BROMLEY  IN  KENT.  DOUBLE-PAGE  PL.\TE  IN  COLOUR.  THE  DRAWING  BY 
WINTON  NEWMAN  (BETWEEN  p.  32  AND  p.  33). 

Charles  Spooner,  Architect. 

DESIGN  FOR  A  SMALL  FARM-HOUSE  AT  STEEPLE  CLAYDON,  BUCKS.  PLATE  IN  COLOUR 
(BETWEEN  p.  32  AND  p.  33). 

Cecil  C.  Brewer,  Architect. 

NOWER  HILL,  PINNER,  SKETCH  FOR  ALTER-ATIO.NS.     PL.'^TE  IN  COLOUR  (TO  FACE  p.  40). 

Arnold  Mitchell,  Architect. 

PAIR  OF  DERBYSHIRE  COTTAGES.     PLATE  IN  COLOUR  (BETWEEN  p.  48  AND  p.  49)- 
HOUSE  IN  BERKSHIRE.     DOUBLE-PAGE  PLATE  IN  COLOUR  (BETWEEN  p.  48  AND  p.  49)- 
HOUSE  AT  SANDERSTEAD,  SURREY.     PLATE  IN  COLOUR  (BETWEEN  p.  48  AND  p.  49)- 

E.  Guy  Dawber,  Architect. 

SOLOM'S  COURT,  SURREY.  PLATE  IN  COLOUR  FROM  THE  ORIGINAL  DESIGN  (TO  FACE 
p.  56). 

C.  F.  A.  Voysey,  Architect. 

PROPOSED  HOUSE  AND  STUDIO  AT  STUDLAND  BAY,  DORSET.  PLATE  IN  COLOUR 
(BETWEEN  p.  64  AND  p.  65).  PROPOSED  HOUSE  FOR  LIMPSFIELD,  SURREY.  PLATE  IN 
COLOUR  (BETWEEN  p.  64  AND  p.  65). 


Special  Plates  in  Colour  and  Their  Contributors 

Edwin  L.  Lutyens,  Architect. 

HOUSE  IN  DEVONSHIRE.     DOUBLE-PAGE     PLATE     IN    COLOUR.      THE    DRAWINGS     BY 
HAROLD  STEVENS  (BETWEEN  p.  64  AND  p.  65). 

Robert  Weir  Schultz,  Architect. 

HOUSE  NEAR  EDENBRIDGE,  KENT.     PL.\TE  IN   COLOUR  FROM  A  PERSPECTIVE  DRAW- 
ING (TO  FACE  p.  72). 

R.  S.  Lorimer,  A.R.S.A.,  Architect. 

HOUSE     IN     PEEBLESHIRE,    N.B.      PLATE     IN    COLOUR    SHOWING    THE    ELEVATIONS 
(BETWEEN  p.  80  AND  p.  81). 

HOUSE    IN    PEEBLESHIRE,   N.B.      PLATE    IN  COLOUR  SHOWING  THE  PLANS  (BETWEEN 
p.  80  AND  p.  81). 

W.  H.  Brierley,  Architect. 

THE  ARCHITECT'S  OWN  HOUSE.     DOUBLE-PAGE  PLATE  IN  BLACK-AND-WHITE  (BETWEEN 
p.  80  AND  p.  81). 

W.  H.  Bidlake,  M.A.,  Architect. 

HOUSE  AT  WINSCOMBE,  SOMERSET.     PLATE  IN  COLOUR  FROM  THE  ORIGINAL  DESIGN 
(BETWEEN  p.  88  AND  p.  89). 

Gerald  C.  Horsley,  Architect. 

DESIGN  FOR  A  SMALL  COUNTRY  HOUSE.     DOUBLE-PAGE  PL.\TE  IN  COLOUR  (BETWEEN 
p.  88  AND  p.  89). 


Halsey  Ricardo,  Architect. 


HOUSE  FOR  DR.  C.  F.  WAKEFIELD  ON  NORWOOD  HILL,  CH.\RLWOOD,  SURREY.  PLATE 
IN  COLOUR  (BETWEEN  p.  88  AND  p.  89). 

Arnold  Mitchell,  Architect. 

VILLA  NEAR  OSTEND.  PLATE  IN  COLOUR  FROM  THE  ORIGINAL  WORKING  DRAWINGS 
(BETWEEN  p.  96  AND  p.  97).  HOUSE  IN  HERTFORDSHIRE.  PLATE  IN  COLOUR 
(BETWEEN  p.  96   AND  p.  97). 


Edward  S.  Prior,  M.A.,  Architect. 

COTTAGES    AT    KEELING,    NORFOLK.      DOUBLE-P.A.GE    PLATE    IN    COLOUR    FROM    THE 
ORIGINAL  DRAWINGS   (BETWEEN  p.  96  AND  p.  97). 

John  Cash,  Architect. 

DESIGNS  FOR  A  DINING-ROOM  AND  A  H.AiL.     A  PLATE  IN  COLOUR  (TO  FACE  p.  112). 

Florence  Laverock,  Decorative  Artist. 

DETAIL    OF    A    STENCILLED    NURSERY    FRIEZE.     A    PLATE    IN    COLOUR    FROM   THE 
ORIGINAL  DESIGN  (TO  FACE  p.  120). 

Winifred  Blackburn,  Decorative  Artist. 

OVERMANTEL  FOR  A  NURSERY.      PLATE  IN  COLOUR  (TO  FACE  p.   i:S). 

Frank  Brangwyn,  A.R.A.,  Decorative  Artist. 

CARTOON  FOR  PART  OF  A  HALL  WINDOW  IN  STAINED  GLASS.     PLATE  IN  COLOUR  (TO 
FACE  p.  137). 

Alexander  Fisher,  Enamellist  and  Metal-Worker. 

BRONZE     MIRROR    WITH    A    METAL    REFLECTOR.     PLATE    IN     COLOUR    FROM    THE 
ORIGINAL  FINISHED  WORK  (TO  F.\CE  p.  148). 

Walter  Crane,  Decorative  Artist 

THE  MEADOW  WALL-PAPER  WITH  THE  MAY  TREE  FRIEZE.     PL.ATE  IN  COLOUR  (TO  F.A.CE 
p.  136). 


LIST  OF   CONTRIBUTORS  AND  TABLE   OF 
BLACK  AND  WHITE  ILLUSTRATIONS 


Ashbee,  C.  R.,  Craftsman. 

JAM  DISH  IN  SIL\'ER  (p.  149). 

Baily,  J.,  Metal  Worker. 

SILVER  (p.  149). 

Baker,  Herbert,  Masey  and  Sloper,  Architects. 

HOUSE   NEAR  MUIZENBERG,  CAPETOWN,  SOUTH  ^^^^^tl^P■^^i•J^^^'^''^Jn^i^^vny^RO 
?ABLE  MOUNTAIN,  SOUTH  AFRICA,  BUILT  BY  THE  LATE  CECIL  RHODES  FOR  RUD\ARD 

KIPLING  (p.  89). 

Barnsley,  Sidney  H.,  Craftsman. 

FURNITURE  (pp.  120,  136). 

Bayes,  Gilbert,  Sculptor. 

STATUETTE  OF  "  FATE  "  (p.  148). 

Bateman,  C.  E.,  and  Bateman,  Architects. 

COTTAGES  AND  HOUSES  (pp.  58,  59.  90- 

Bidlake,  W.  H.,  M.A.,  Architect. 

HOUSE  AT  FOUR  OAKS.  NEAR  BIRMINGHAM  (p.  93)-:  HALL  IN  A  HOUSE  AT  ALMONDSBURY 
(p.  126). 

Billerey,  Fernand,  Architect. 

COTTAGE  (p.  51). 

*Blomfield,  Reginald,  A.R.A.,  Architect. 

COTTAGE  AT  APETHORPE  (p.  66).  DOUBLE  COTTAGE  .\T  APETHORPE  (p.  67). 

Blow,  Detmar,  Architect. 

COTTAGE  (p.  51). 

Brewer,  C.  C,  and  Dunbar  Smith,  Architects. 

THE  NL'^LTINGS,  CAMBRIDGE  (pp.  81,  114). 

Brierley,    Walter  H.,  Architect. 

SHOOTING   LODGE  ON  THE  MOOR  AT  GOATHLAND  (pp^40,  4i).     HOUSE  AT  f^LFORD 
YORKSHIRE  (p    60).      COTTAGE  AT  RUFFORTH.  NEAR  \ORK  (p.  74)-      FOUR   ALMiHOUbtS 

1?  ss Islington  YORKSHIRE  (p.  87).    kirkdale  vicar.^ge,  vork.hire  (p.  90. 
Briggs,  R.A.,  Architect. 

PAIR0FC0TT.^GESATSOUTHMVMMS(p.4.).     PAIR  of  houses  ..T  south  MYMMS  (p.  45). 

Crane,  Lionel  F.,  Architect. 

GROUP  OF  FOUR  COTTAGES  (p.  53).     PROPOSED  COTTAGES  AT  EASTON  IN  ESSEX  (p.  6.) 
TIMBER-FRAMED  COTTAGE  AT  LETCHWORTH  (p.  96). 

Crane,  Walter,  Decorative  Artiste 

WALL-PAPERS  (p.  155). 

Cranley,  George  A.,  Architect. 

DINING-ROOM  CHIMNEYPIECE  (p.  I57). 

.  Errala.     The  scale  0/  the  flan  on  fnge  66  ;.  -/'/"•"'"'f'/^  ■/■6 '^i,  L"J,^f^,°"  '"^'  ''  ''"  ''""  " 
irrara.  Uss  than  i/i6  in.,  the  ^uidth  denoting  ib/eet  and  the  depth  l,/eet. 


10 


The  Modern  Home 


Dawber,  E.  Guy,  Architect. 

HOUSE  AT  DENBIGH,  IN  NORTH  WALES  (p.  35).  SOLOMS  COURT,  SURREY  (p.  56).  WAL- 
WOOD,  SURREY  (pp.  65,  109,  no,  112).  THE  PARLOUR,  118,  MAIDA  VALE,  LONDON  (p.  108), 
AND  THE  DINING-ROOM  (p.  no). 

Day,  Lewis  F.,  Decorative  Artist. 

WALL-PAPER  (p.  154). 

Douglas,  John,  Architect. 

HOUSES  AND  A  CHAPEL  IN  GROSVENOR  ROAD,  CHESTER  (p|  90). 

Douglas  and  Minshull,  Architects. 

COTTAGES,  B.\TH  STREET,  CHESTER  (p.  92). 

Evill,  Norman,  Architect. 

LINHOLME,  HOLMBURY-ST-MARY,  DORKING  (p.  Sj), 

Falkner,  H.,  Architect. 

COTTAGE  NEAR  FARNHAM  (p.  43). 

Frampton,  George,  R.A.,  Sculptor. 

LA.MIA  (p.  :45).     M.-iTERNITY  (p.  146). 

Farquharson,  Horace,  Architect. 

LINHOLME,  HOLMBURY-ST  -MARY,  DORKING  (p  82).  THE  LOWE,  WELLESBOURNE,  WAR- 
WICK  (p.  82).     THE  STAIRCASE  HALL,  ADHURST-ST -^LARY,  PETERbFIELD  (p.  '19). 

Field,  Horace,  Architect. 

HOUSES  AND  COTTAGES  (pp.  78,  83,  94). 

Fisher,  Alexander,  Enamellist  and  Metal  Worker. 

BRACKET  FOR  ELECTRIC  LIGHT  (p.  148). 

George,  Ernest,  and  Yeates,  Architects. 

COUNTRY  HOUSE  NEAR  NEWBURY  (p.  34). 

Gimson,  Ernest  W.,  Craftsman. 

COTTAGE  (p.  51).  ROOMS  IN  DANEWAV  HOUSE,  NEAR^CIRENCESTER  (pp.  106.  123,  127). 
FUR.N'ITURE  (pp.  Ill,  113,  12S,  129,  132,  133,  136). 

Glasgow,  Roberta,  Decorative  Artist. 

STENCILLED  NURSERY  FRIEZE  (p.  135). 

Guild  of  Handicraft. 

SILVER  WORK  (p.  149). 

Henderson,  Harold  E.,  Architect. 

MOORL.\ND  HOUSE  IN  YORKSHIRE  (pp.  46,  47), 

Henderson,  Ralph,  Decorative  Artist. 

FITTED  BEDROOM  (p.  134). 

Horder,  P.  Morley,  Architect. 

GREYSTOKE,  NEAR  WARWICK  (p.  90). 

Horsley,  Gerald  C,  Architect. 

THE  FOREST,  BALCOMBE,  SUSSEX  (p.  52).    COOMBE  FIELD,  GOD.\LMING,  SURREY  (p.  73). 

Laverock,  Florence,  Decorative  Artist. 

PAINTED  DADO  PANEL  TO  FORM  PART  OF  THE  DECORATION  OF  A  "  LEWIS  CARROLL  " 
SCHOOLROOM  (p.  135). 


II 


List  of  Black    and  White    Illustrations 

Lorimer,  Miss,  Embroideress. 

BEDCOVER  (p.  151). 

Lorimer,  R.  S.,  A.R.S.A.,  Architect. 

HOUSE  AT  NORTH  BERWICK  (p.  69).  WEEK-END  COTTAGE  ON  GULLANE  LINKS,  N.B.  (p.  71). 
GROUP  OF  COTTAGES  AT  COLINTON  (p.  85).  HIGH  BARN,  GODALMING,  SURREY  (p.  66). 
PIT  KERRO,  FORFARSHIRE  (p.  94).  FURNITURE  (pp.  107,  :22.  123)-  DINING-ROOMS  (pp. 
107,  117).  OAK  HALL  IN  A  HOUSE  IN  CUMBERLAND  (p.  116).  THREE  FIREPLACES  (p.  122). 
ROOMS  IN  HALLYBURTON  HOUSE  (p.  131).     FOUR  BEDCOVERS  (pp.  150.  151). 

Lucas,  Geoff ry.  Architect. 

WORKMEN'S  COTTAGES  AT  LETCHWORTH,  HERTS  (p.  49)- 


Lutyens,  Edwin  L.,  Architect. 


HIGH  WALLS,  GULLANE,  N.B.  (p.  70).  MONKTON,  SINGLETON,  SUSSEX  (pp.  79.  8o)-  OAK 
TIMBER-FRAMED  COTTAGE  (p.  80).  THE  HOO,  WILLINGDON,  SUSSEX  (pp.  84,  85).  BERRY- 
DOWN,  HAMPSHIRE  (p.  89).     FURNITURE  (pp.  124,  125).     GARDEN  SEATS  (p.  160). 

Mackenzie,  Mrs.,  Embroideress. 

BEDCOVER  (p.  150). 

May,  E.  J.,  Architect. 

HOUSE  NEAR  GOD.\LMING  (p.  6^).  COTTAGE  .AT  CHISLEHURST  (p.  93)  HOUSE  ON  THE 
HINDHEAD,  SURREY  (p.  96). 

Mitchell,  Arnold,  Architect. 

HOUSE  AT  HARROW  WEALD  (pp.  38.  39).  HOUSE  AT  NORTHWOOD  (p.  75).  SiLALL  HOUSE 
AT  HARROW  (p.  75)- 

Morris,  May,  Decorative  Artist. 

HONEYSUCKLE  WALL-PAPER  (p.  154). 

Morris,  The  late  William,  Decorative  Artist. 

SILKBROC.'VTEL(p.  152).    PRINTED  COTTON  (p.  153).    WILLOW  BOUGH  WALL-PAPER  (p.  154). 

Neatby,  W.  J.,  Decorative  Artist. 

THE  ORCHARD  W.ALL-PAPER  (p.  155)-  ^ 

Newton,  Ernest,  Architect. 

HOUSE  NEAR  GODSTONE,  SURREY  (pp.  it,  37).  HOUSE  AT  B.WGHURST,  H.\MPSHIRE 
(p.  50). 

Niven,  D.  B.,  and  Herbert  Wigglesworth,  Architects. 

HOUSE  AT  WALTON-ON  THAMES  (p.  44). 

Niven,  Wigglesworth  and  Falkner,  Architects. 

COTTAGE  NEAR  FARNHAM  (p.  43). 

Penty,  Arthur  J.,  Craftsman. 

DINING-ROOM  IN  A  LONDON  HOUSE  (p.  117).     CHAIRS  {p.  121). 

Prentice,  A.  N.,  Architect. 

COTTAGES  AT  CHAPELWOOD  MANOR  (p.  76).  THE  GATE  LODGE,  CHAPELWOOD  JL-INOR 
(p.  77). 

Reynolds-Stephens,  W.,  Sculptor. 

LOVE'S  CORONET  (p.  147). 


Ricardo,  Halsey,  Architect. 


HOUSE  AT  GRAFFHAM,  NEAR  PETWORTH,  SUSSEX  (p.  72).    THE  EYOT  HOUSE,  SONNINO 
ON-THAMES  (p.  72). 


12 


The  Modern  Home 


Schultz,  R.  W.,  Architect. 


THE  CROFT  WINCHFIF.LD,  HANTS  (p.  6S).  MAIN  STAIRCASE  IN  OAK,  PICKENHAM  HALL, 
NORFOLK  (p.  112).  THE  LIVING-ROOM  IN  ENGLISH  OAK,  SCALERS  HILL,  COBHAM,  KENT 
(p.   115).     DRESSING-ROOM  IN  A  HOUSE  IN  FIFESHIRE  (p.  120). 

Scott,  M.  H.  Baillie,  Architect. 

PROPOSED  HOUSE  AT  HURLINGHAM  (p.  48).  THE  HALL,  BLACKWELL.  WINDERMERE 
(p.  130). 

Shaw,  R.  Norman,  R.A. 

DINING-ROOM  IN  A  HOUSE  AT  HAMPSTEAD.  LONDON  (p.  103).  DRAWING-ROOM  IN  AHOUSE 
AT  HAMPSTEAD,  LONDON  (p.   106). 

Skinner,  Mrs.,  Embroideress. 

BEDCOVER  (p.  151). 

Smith,  Dunbar,  and  C.  C.  Brewer,  Architects. 

THE  MALTINGS,  CAMBRIDGE  (pp.  81,  114). 

Spooner,  Charles,  Architect. 

BLOCK  OF  FOUR  COTTAGES  (p.  37).  SOME  STABLES  AND  COTTAGES  AT  BURY  IN  SUS- 
SEX (p.  61).  HOUSE  ON  THE  HINDHEAD  (p.  88).  HOUSE  AT  RUSHMEN,  NEAR  IPSWICH 
(p.  92)  CHAIRS  (p.  116).  DINING-ROOM  IN  A  LONDON  HOUSE  (p.  II7).  BEDROOM 
FURNITURE  (p.  121).  BUREAU  (p.  121).  BED-SOFA  (p.  126).  YAFFLES,  HINDHEAD,  THE 
DINING-ROOM  (p.  127). 

Sumner,  Hey  wood,  Decorative  Artist. 

OAK  AND  .\SH  WALL-PAPER  (p.  152).     THE  WOODLANDERS  (p.  153)- 

Tanner,  H.,  jun.,  Architect. 

THREE  COTTAGES  AT  SHACKLEFORD  (p.  57).  A  SUNK  GARDEN  (p.  64).  HOUSE  AT  BECK- 
ENHA.M  (p.  64). 

Toy,  E.,  Metal  Worker. 

SILVER  (p.  149). 

Troup,  F.  W.,  Architect. 

HOUSE  IN  SURREY  ON  THE  SLOPE  OF  A  HILL  (p.  62).     COTTAGE  (p.  95)- 

Varley,  F.  C,  Enamellist. 

SILVER  (p.  149). 

Vigers,  Allan  F.,  Decorative  Artist. 

WALL-PAPERS  (p.  156). 

Voysey,  C.  F.  A.,  Architect. 

HOUSE  IN  BUSHEY  GR.\NGE  ROAD,  BUSHEY  (p.  54).     HOUSE  NEAR  CARDIFF  (p.  55). 

Webb,  Sir  Aston,  R.A.,  Architect. 

THE  HEADMASTER'S  HOUSE,  BRITANNIA  ROYALNAVAL  COLLEGE,  DARTMOUTH  (p.  33). 

Webb,  Stephen,  Decorative  Artist. 

FRIEZE  EMBOSSED  IN  COPPER  (p.  157). 

White,  W.  A.,  Metal  Worker. 

SILVER  (p.  149). 

Wigglesworth,  Herbert,  Architect. 

COTTAGE  NEAR  FARNHAM  (p.  43).     HOUSEy^TJVVALTON-ON-THAMES  (p.  44)- 

Wood,  F.  Derwent,  Sculptor. 

DyEDALUS  AND  ICARUS  (p.  145).  SKETCH  MODEL  FOR  A  DINING-ROOM  MANTELPIECE 
(p.  157).     MODELS  FOR  GARDEN  STATUES  (p.  158).     FOUNTAIN  FOR  A  LILY  POND  (p.  159). 

Yeates,  and  Ernest  George,  Architect. 

A  COUNTRY  HOUSE  NEAR  NEWBURY  (p.  34). 


w) 


c 


H 


5  < 


X 


2  3 


3 


The    Home   from  Outside 

By  W.   H.   Bidlake,  M.A.,  Architect 

F  course,  few  are  insensitive  to  the  charm 
of  an  old  manor  house  !  Do  not  the  very 
words  suggest  to  us  some  gabled  buildings, 
whose  lichen-covered  walls  and  age-furrowed 
timbering  Nature  seems  to  have  claimed 
for  her  own,  and  dressed  in  her  own  livery  ? 
There  it  stands,  overgrown  with  ivy  and  sheltered  by  tall  trees, 
in  detached  seclusion,  content  to  let  the  busy  life  pass  it  by  on  the 
distant  high  road.  It  speaks  of  other  days,  when  Ufe  moved  more 
leisurely,  and  when  the  many  inventions  which  yearly  make 
our  modern  Hfe  more  feverish,  were  unknown.  Its  walls  have 
seen  many  generations  come  and  go,  and  this  dual  association 
of  Nature  and  human  life  has  invested  the  manor  house  with 
infinite  romance.  Nor  is  this  dispelled  on  entering  the  panelled  and 
low-ceiled  rooms,  where  the  furniture,  like  the  house  itself,  has 
been  handed  down  from  father  to  son,  and  presents  that  simple, 
solid,  and  homely  character  which  we  associate  with  old  English 
life.  From  how  many,  alas,  has  the  old  furniture  disappeared  ! 
The  panelling,  too,  and  even  the  old  staircase,  may  have  been 
bought  up  by  dealers,  and  perhaps  deported  to  America. 

But  is  it  to  Nature  and  human  association  alone, 
let  us  ask  ourselves,  that  the  charm  which  haunts  these  old  build- 
ings is  to  be  attributed  ?  Are  there  no  other  factors  that  con- 
tribute to  the  effect  ?  For  instance,  do  we  not  feel  more  or 
less  consciously  that  the  building  itself,  apart  from  its  extraneous 
ivy  and  lichen,  expresses  the  needs  and  the  manner  of  hfe  of 
its  old  inmates  ?  That  it  is,  in  fact,  the  direct  outcome  of  an 
attempt  to  satisfy  them  ?  Certainly  we  are  sure  that  its  plan  was 
not  schemed  out  in  accordance  with  any  preconceived  theory,  but 
that  the  rooms  were  grouped  together  as  we  find  them  because, 
on  the  one  hand,  it  was  the  customary  and  traditional  way  of 
arranging  such  houses,  and  because,  on  the  other,  the  planning 
had  slowly  changed  from  age  to  age  with  the  conditions  of  life. 


M 


The    Modern    Home 

The  external  presentment,  in  like  manner,  was  not 
designed  to  express  any  given  architectural  style  ;  it  was  the 
direct  outcome  of  the  arrangement  of  the  plan.  Its  half-timber 
and  plaster  or  tilehung  walls  were  not  so  constructed  to  gratify 
their  owner's  love  of  the  picturesque,  but  because  such  materials 
were  readily  obtained  in  the  district  and  had,  in  consequence, 
been  so  employed  for  generations  past,  so  that  the  local  work- 
men were  well  acquainted  with  their  preparation  and  use,  and 
needed  not  to  be  instructed  on  these  points  by  an  architect's 
specification.  So  true  is  this,  that  the  style  and  methods  of  house 
and  cottage  building  in  different  parts  of  the  country  vary  in 
accordance  with  the  underlying  geological  formation  ;  on  which 
also  depends  in  large  measure  the  abundance  or  the  paucity  of 
oak  timber.  Thus,  the  manner  of  stone  building  practised  in 
the  seventeenth  century  on  the  confines  of  Worcestershire  and 
Gloucestershire  and  in  the  neighbouring  districts — the  manner 
which  is  sometimes  spoken  of  as  the  Cotswold  style — would  be 
more  appropriately  called  the  OoUte  style,  for  it  is  practically 
identical  with  that  in  vogue  elsewhere  at  the  same  period,  not 
only  in  Oxfordshire  and  Northamptonshire,  but  also  in  aU  districts 
where  the  oolite  stone  was  of  good  quality  and  easily  accessible. 

In  like  manner  half-timber  building  is  to  be  found 
in  Cheshire,  and  tile-hung  walls  and  hipped  roofs  in  Sussex. 

The  materials  employed  had  their  share  in  deter- 
mining the  design  of  the  house,  acting  in  conjunction  with  the 
plan,  for  every  kind  of  material  has  its  own  proper  manner  of 
construction.  If  the  roofs  are  thatched,  they  must  be  steep  to 
throw  off  the  rain  quickly  ;  if  covered  with  slate  as  in  Wales,  or 
with  large  stone  slabs  as  in  Lancashire,  they  may  be  of  low  pitch  ; 
if  of  tile,  they  will  be  of  intermediate  pitch,  and  as  angle  tiles 
are  readily  moulded  the  roofs  will  often  be  hipped,  as  in  Sussex. 
A  timber-framed  house  will  have  its  upper  storeys  and  gables 
overhanging  the  better  to  protect  the  timbering  below.  Similarly, 
the  windows  wiU  vary  in  their  character  according  as  they  have 
stone  mullions  or  wood  frames,  a  stone  Lintel  or  a  brick  arch. 

The  materials  thus  employed  were  prepared  in  a 


The    Home    from    Outside 

manner  which  tradition  and  experience  had  taught  to  be  the 
best.  Labour-saving  machinery,  with  its  accuracy  of  working 
and  uniformity  of  result,  was  then  unknown.  The  natural  limi- 
tation which  the  materials  imposed  were  not  subjugated  then  by  a 
ruthless  force.  No  steam  plane  converted  the  bent  log  into  rigid 
lines  ;  rather  Nature's  hints  were  gratefully  accepted,  and  the 
bent  log,  with  all  its  fibres  intact,  was  even  preferred,  not  only 
because  it  was  stronger  when  fixed  in  a  cambered  position,  but 
because  its  less  rigid  lines  were  more  grateful  to  the  eye. 

Many  other  illustrations  might  be  adduced  of  the 
harsher  treatment  of  material  by  modem  methods  ;  but  that 
of  brick-making  is,  no  doubt,  especially  noteworthy  to  all  archi- 
tects, and  invites  and  deserves  very  careful  consideration  here. 

The  aim  of  every  brick  manufacturer  nowadays  is 
to  produce  bricks  as  exact  in  shape,  as  sharp  in  arris,  as  smooth 
in  surface,  as  uniform  in  colour,  and  as  bright  a  red  as  it  is  possible 
to  make  them,  and  every  bricklayer  is  taught  that  the  best  face- 
work  is  the  most  accurately  laid  and  the  most  perfectly  uniform 
in  colour  ;  and  to  attain  this  ideal  the  bricks  will  often  be  carefully 
picked  over  and  those  rejected  which  vary  in  only  a  slight  degree 
from  the  standard  red.  Consider  also  the  detestable  method  of 
tuck-pointing  in  white,  or  even  in  black  mortar,  which  consists 
in  outlining  the  brick  joints  by  applying  thin  strips  of  mortar  over 
the  surface  first  made  uniformly  red  by  rubbing  over  it  a  soft 
brick.  This  is  a  still  more  reprehensible  means  of  securing  that 
souUess  uniformity  which  is  the  dehght  of  the  modern  bricklayer. 
And  to  the  further  detriment  of  modern  brickwork,  the  bricks 
themselves  are  of  very  clumsy  proportion,  having  (as  a  result 
of  the  brick  tax)  a  thickness  of  three  inches,  exceeding  that  of  the 
old  bricks  by  half.  Surely  the  atmosphere  of  the  smokiest  town 
is  not  enough  excuse  for  brickwork  such  as  this,  and  it  is  absolutely 
certain  that  a  cottage  or  a  country  house  is  ruined  by  it.  If 
this  assertion  seem  too  dogmatic,  you  may  easily  realize  its  truth 
by  imagining  Compton  Wynyates  decked  out  with  brick-facing 
similar  to  that  which  I  have  described. 

It  is  surely  an  instance  of  the  British  manufacturer's 


i6 


The    Modern    Home 

indifferent  taste  and  want  of  enterprise,  that  while,  for  years 
past,  architects  have  been  re-using  the  old  bricks  of  demolished 
buildings,  no  brickmaker  has  stepped  forward  and  offered  to 
supply  bricks  for  face- work  made  on  the  old  lines. 

Our  modern  roof  tiles  are  open  to  the  same  objection 
as  the  bricks,  with  this  difference,  that  if  the  bricks  are  made  too 
thick,  the  tiles  are  made  too  thin,  but  in  both  alike  there  is  the 
same  want  of  surface  texture,  the  same  want  of  individuality 
between  one  tile  and  another,  the  same  hardness  of  colour  and 
shape.  It  is  very  remarkable  that  while  in  so  many  other  matters 
which  concern  the  house  of  to-day  the  movement  for  the  revival 
of  the  crafts  has  exercised  a  beneficent  influence,  the  brick  and 
tile  manufacturers  are  still  behind  in  the  dark  mid- Victorian  days. 
It  may  be  advanced  that  bricks  and  tiles  made  by  the'old  methods 
would  cost  more.  Undoubtedly  they  would  cost  more  than 
the  common  wire-cut,  machine-made  bricks,  but  they  would 
not  be  so  costly  as  the  special  facing-bricks  ;  and  were  they  even 
more  so,  who  would  not  be  willing  to  allow  the  extra  expense 
if  the  alternative  were  the  spoiling  of  an  otherwise  beautiful  house 
by  the  artistic  inferiority  of  its  materials  for  the  roofs  and  walls  ? 

Let  us  then  go  back  to  our  manor  house,  and  of 
the  many  lessons  it  is  prepared  to  teach  let  us  learn  at  least  to 
respect  the  right  treatment  of  building  material.  We  shaU  then 
be  in  a  better  position  to  form  a  critical  judgment  of  the  domestic 
building  of  to-day,  and  detect  in  it  those  signs  which  will  enable 
us  to  perceive  the  direction  in  which  it  promises  to  develop. 

Many  are  the  disadvantages  that  beset  the  architect 
in  these  days,  and  among  them  is  the  fact  that  he  works  out  his 
designs  in  an  ofQce,  often  far  distant  from  the  site  of  the  house 
he  is  to  build,  and,  it  may  be,  in  a  district  in  which  a  quite  different 
kind  of  material,  and  consequent  difference  of  construction,  has 
been  practised  in  the  past.  This  circumstance  not  only  demands 
of  him  a  careful  study  of  the  materials  of  his  new  district  but  a 
greater  effort  of  imagination.  Nor  is  this  all,  for  in  studying  an 
old  house  we  are  at  once  struck  by  the  natural  manner  in 
which  it  adapts  itself  to  its  site,  and  the  levels  of  the  ground.     Its 


rRO/NT     ELEVATION 


SIPE    ELEVATION. 


QROL/f^P  PM/^ 


FIRST  FLOOR  PLA/N 


SECTION  A  A 


5WLE 


Feet 


MATERIAIS:    CL'MUKRLAND    SLATER,    RED    BRICK    AND    KOrOHCAST.    WOOD    WINnilW    FRAMES    PAINTED    (IKEKN 

A.    N.    Prentice,   Archilect 


^ 


RAin     viK\lK.  DRAINS 
JO   Dnc". 


^, 


50IL  DRfltn  TO  Cesspool    aj 
LEAST  45  '\  AWAY 


SOIL  DRAIM     To    CE^Spcou 

AT   lEAST     45     "CfT  ^W^T 


-i=£r 


Living   RpoM. 


•=[^CVLLcP.T 


ZitJ. 


Parlour 


Ground  Tloor  Plan5 


4 


TiRST  Floor,  and  Roof  Plan. 


SciLf  Op 


PATR  OF  COTTAGES  AT  BRAMLEY,  NEAR  GUILDFORD,  FOR  HENRY  KEENE,  ESQ. 


Horace  Field  I 


Trcnt  Elevation. 


Side:  Elevation, 


Back  Elevation, 


35  -M  45 


rttj. 


Section  A-A 


Uchitrct 


HLMLT    AT    A    COST    OF    ffib^    THK     I'AIK  Klil'KclDL'CED    FKOM    TIIF.    OKII.INAI.    HKSICiN 


ESTIMATED  COST^580 


FRONT  ELEVATION 


BACK  ELEVATION- 


GROUND  PLAM 


BEDROOM  PLAN 


I'AIR    OF    SKMI-DKTACHKn    \V(  lOPKN-FK AMEU    COTTAGFS.        ESTIMATKP    COST,    ;^38o 


Lionel   F.   Crane,   Architect 


17 


The    Home    from    Outside 

arrangement  was  worked  out  on  the  spot,  and  the  exigencies  of 
the  site  united  with  those  other  circumstances  which  have  been 
considered  in  determining  the  plan  and  design  of  the  house. 

The  modern  architect,  too,  if  he  is  wise,  will  scheme 
the  main  Hnes  of  his  building  whilst  visiting  the  site,  and  while 
he  is  under  the  influence  of  its  character  and  surroundings.  In  this 
way  the  little  accidentals  of  design  occur  which  are  often  so  pleasing,, 
and  sometimes  they  even  determine  its  main  character.  The 
architect  regards  them  as  happy  inspirations,  but  they  are  inspira- 
tions that  would  not  have  come  to  him  within  the  four  walls 
of  his  office.  He  might  even  go  further  and  say  that  a  quiet 
stroll  about  the  site  towards  evening,  when  the  failing  light  has 
broadened  the  masses  and  subdued  the  detail  of  the  surroundings,, 
will  unlock  the  fancy,  and  enable  the  mind  more  vividly  to  per- 
ceive the  pictorial  possibilities  of  the  problem  it  is  seeking  to  solve. 

Doubtless  many  other  matters  relative  to  the  build- 
ing of  the  manor  houses,  the  farms  and  cottages  of  two  or  three 
hundred  years  ago,  might  profitably  be  considered  ;  but  it  will 
suffice  for  our  present  purpose,  which  is  rather  to  examine  the 
present  state  and  future  promise  of  the  house  building  of  to-day, 
if  we  follow  some  of  the  changes  which  have  taken  place  in  the 
interval,  both  in  the  arrangement  of  the  plan  and  in  the  use 
of  material.  It  will  be  unnecessary  to  refer  to  the  larger  houses 
and  country  mansions,  except  in  so  much  as  they  help  to  elucidate 
the  study  of  the  smaller  homes,  or  as  having  first  set  new  fashions 
which  subsequently  gathered  the  smaller  in  their  wake.  The 
mansion  lies  outside  the  scope  of  the  present  volume,  which  deals 
rather  with  the  modern  house  for  moderate  incomes,  and  so  its 
development  in  the  past  is  more  aptly  illustrated  by  the  manor 
house  at  one  end  of  the  scale  and  the  cottage  at  the  other. 

The  small  country  houses  and  farms  of  the  Tudor 
and  early  Stuart  period  clearly  indicate  in  their  plans  the  traditions 
of  the  Middle  Ages.  The  hall  is  still  the  important  room  in  the 
house,  and  is  screened  off  from  the  entrance  passage  extending 
through  the  house  from  front  door  to  back,  an  arrangement  which 
we  should  find  draughty  no^^■adays,  but  which  wonld  not  in'ron- 


i8 


The    Modern    Home 

venience  our  forefathers,  whose  less  luxurious  upbringing  and 
open-air  life  had  inured  to  harder  conditions.  The  other  rooms 
are  more  or  less  loosely  attached  to  the  hall  as  if  they  had  been 
added  by  a  process  of  accretion,  rather  than  as  having  been 
arranged  in  a  plan  logicaUy  brought  to  completion. 

Nevertheless,  this  logical  planning  was  already  prac- 
tised with  regard  to  the  larger  houses  in  the  early  days  of  the 
seventeenth  century,  and  it  soon  manifested  itself  in  the  smaUer 
ones  also.  The  haU  now  becomes  the  focus  of  the  building.  It  is 
no  longer  a  dwelhng-room,  but  the  vestibule  and  ante-chamber  to 
the  other  rooms,  and  from  it  the  staircase  leads  to  the  chamber  floor. 

Already  a  new  and  alien  fashion  had  been  introduced 
into  EngUsh  architecture,  one  which  was  not  the  outcome  of 
conditions  pecuhar  to  Enghsh  hfe,  but  due  to  the  revival  of  classic 
forms,  which,  with  their  requirement  for  a  greater  rigidity  and 
symmetry  of  treatment,  had,  even  in  Ehzabethan  days,  impelled 
Bacon  to  remind  the  readers  of  his  Essays  that  "  houses  are  built 
to  Uve  in,  and  not  to  look  on  ;  therefore  let  use  be  preferred  before 
uniformity,  except  where  both  may  be  had." 

At  first  the  new  fashion  blended  itself  with  the  old 
and  gave  rise  to  many  picturesque  mansions,  but  after  the  days 
of  Inigo  Jones  this  uniformity  of  which  Bacon  speaks  tightened 
its  grip.  The  irregular  and  picturesque  grouping  of  gables  gives 
place  to  the  symmetrical  and  carefully  balanced  fafade,  the 
romantic  yields  to  the  scholarly,  the  traditional  plan  succumbs 
to  one  more  carefully  worked  out  to  suit  the  more  refined  con- 
ditions of  hving,  and  the  mulhoned  casement  window,  with  its 
easy  adaptabiUty  in  size  and  proportion,  is  displaced  by  the  sash 
window,  equidistantly  spaced  in  rows  across  the  fagade,  which 
is  terminated  by  a  classic  cornice  or  pediment.  There  is  a  restraint 
and  quiet  dignity  about  these  houses  not  confined  alone  to  the 
facade,  but  pervading  the  interior,  and  communicating  itself  also 
to  the  formal  garden.  Classic  forms  had  now  become  quite  acclima- 
tised and  English  Renaissance  architecture,  in  the  hands  of  the 
architects  of  the  eighteenth  century,  became  as  distinctive  and 
as  thoroughly  national  as  EngUsh  Gothic  architecture  had  been 


19 


TTie    Home    from    Outside 

in  an  earlier  age.  The  large  panelled  interiors,  wdth  their  modelled 
plaster  ceilings,  were  expressive  of  refined  well-being,  and  the 
careful  execution  of  every  detail  and  of  such  ornament  as  the 
general  severity  of  the  style  allowed,  bespoke  the  high  attain- 
ment of  the  building  crafts  of  the  time.  The  architectural  forms 
of  the  day,  although  in  the  main  classic,  were  yet  capable  of 
adaptation  and  change  :  they  had  not  become  stereotyped  :  they 
were  still  living.  It  was  not  until  the  latter  days  of  the  eighteenth 
century  that  the  literal  copyism  of  ancient  classic  forms  sapped 
the  life  from  the  English  Renaissance. 

From  that  time  matters  went   from   bad  to  worse, 
until  in  the  mid- Victorian  period  domestic  architecture  seemed 
almost  a  lost  art,  and  in  the  general  artistic  indifference  there 
were  few  to  mourn  its  death.     Is  it  necessary  to  describe  the  middle- 
class  house  of  that  period  ?    The  hall  was  then  a  narrow  passage  with 
a  floor  of  so-called  tessellated  paving,  the  walls  were  covered  with 
a  paper  ingeniously  printed  to  look  hke  marble  in  large-jointed 
slabs,  and  the  varnish  \vith  which  it  was  subsequently  covered  turned 
in  time  to  a  dingy  brown.     Along  one  side  of  the  narrow  passage- 
hall  rose  the  staircase  with  a  balustrade  of  magnified  match  sticks, 
grained,   as   indeed   was   the   woodwork   throughout   the   house, 
in  orange-brown  colour  supposed  to  imitate  oak.     The  walls  of 
the  principal  rooms  were  covered  with  flock  paper  ;    and  from  a 
papier-mache  rose  in  the  centre  of  the  ceiling  hung  an  elaborate 
fantastically  chained  gaselier.      The  heavy  cast-iron  grates  were 
surrounded  by  white  marble  slabs,  and  the  veneered  furniture 
which  filled  the  rooms  was  as  artistically  degraded  as  the  house. 
The    Gothic    Revival    re-awakened    an    interest    in 
architecture,  restricted,  for  the  most  part,  to  ecclesiastical  build- 
ings ;  but  when  the  Revivahsts  came  to  apply  themselves  to  do- 
mestic architecture  they  went  astray.     In  their  zeal  for  the  purity 
of  thirteenth  centur}^  art,  they  chose  that  phase  of  Gothic  least 
suited  to  modern  house  building,  and  one  of  the  most  distressing 
problems  in  the  furnishing  of  a  house  was  how  to  fit  a  Venetian 
blind  to  a  pointed  window.     In  the  end  no  little  ridicule  was 
poured  on  the  Revival,  for  the  same  literal  copyism  of  ancient 


20 


The    Modern    Home 

Gothic  forms  was  demanded  of  its  votaries  as  had  brought  about 
the  degradation  of  the  classic  Renaissance  at  the  end  of  the 
XVIII  century.  In  this  hour  of  direst  need  Mr.  Norman  Shaw  began 
to  address  himself  to  the  problems  of  house  building,  and  it  is 
hardly  too  much  to  say  that  it  is  to  the  advent  of  Mr.  Norman 
Shaw,  and  to  the  extraordinary  influence  of  his  work — i.e.  the 
grand  series  of  his  designs  for  houses  executed  between  the  years 
1864  and  1894 — that  we  owe  the  revival  of  English  domestic 
architecture,  and  the  position  occupied  by  the  art  to-day. 

Naturally  Mr.  Shaw's  earlier  houses,  like  that  at 
Craigside,  erected  for  Sir  William  Armstrong,  show  strong  Gothic 
affinities,  but  Mr.  Shaw  was  not  slow  to  perceive  that  the  brick 
Renaissance  houses  of  the  eighteenth  century — houses  in  the 
"  Queen  Anne  style,"  so  called — more  nearly  answered  the  require- 
ments of  the  present  day  ;  and  it  is  by  the  revival,  or  more  cor- 
rectly the  adaptation  and  development  of  this  style,  and  its  appli- 
cation to  the  town  house  and  the  small  country  house,  as  well  as 
to  the  country  mansion,  that  Mr.  Shaw  has  rendered  such  inestim- 
able service  to  the  advance  of  domestic  architecture.  Nor  did 
he  stand  alone.  Mr.  Philip  Webb,  Mr.  Eden  Nesfield,  Mr.  Ernest 
George  and  Mr.  John  Belcher,  not  to  speak  of  many  others  of 
less  note,  have  each  associated  nobly  in  the  good  work. 

The  application  of  machinery  to  manufacture  on 
an  ever-increasing  scale  has  attended  all  craftsmanship  since 
the  earlier  part  of  the  nineteenth  century,  bringing  into  vogue 
many  changes  of  an  economic  and  a  social  kind  ;  and  this  enemy 
to  hand-labour  has  brought  us  banes  as  weU  as  blessings,  for 
it  has  almost  extinguished  the  many  crafts  associated  with  the 
construction  and  the  decoration  of  buildings.  The  thread  of 
many  a  tradition  is  now  irrevocably  severed,  and  with  the  simul- 
taneous decay  of  apprenticeship,  the  hand  that  wrought  has  lost 
its  cunning.  The  contract  system  of  carrying  out  building  opera- 
tions, in  which  each  builder  strives  against  his  fellow  to  execute 
the  work  as  cheaply  as  possible  without  reducing  his  own  margin 
of  profit,  is  a  direct  discouragement  to  good  work  ;  and  it  is  also 
to  be  feared,  in  spite  of  all  statements  to  the  contrary,  that  the 


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21 


The    Home    from    Outside 

result  of  the  action  of  trades  unions  is  often  to  level  down  the 
good  workman  to  the  status  of  the  bad. 

The  direct  result  of  the  decay  of  the  building  crafts, 
owing  to  the  inferior  education  of  the  workmen  engaged  in  them, 
is  to  throw  a  greater  burden  of  responsibiUty  on  the  architect.     At 
one  time  the  architect  simply  furnished  the  design  and  then  con- 
sulted with  the  various  artificers,  craftsmen  and  artists  to  be  en- 
gaged upon  carrying  it  out,  correlating  their  labours,  and  directing 
all  towards  the  realization  of  his  idea.     The  full-size  details  of 
moulding  and  decoration  were  designed  by  the  master  masons 
themselves  within  the  limits  of  the  general  drawing.     To-day, 
on  the  other  hand,  the  architect  must  work  out  and  furnish  full- 
size  drawings  of  every  minute  detail,  while  the  workman  is  equipped 
with  a  knowledge  so  hmited  that  it  does  not  enable  him  even  to 
form  an  opinion  about  them,  and  he  is  restricted  also  by  conditions 
that  neither  grant  him  any  initiative  nor  encourage  him  to  think 
for  himself.     His  business  in  life  is  to  execute  details  of  work  Uke 
a  human  machine.     The  architect  dominates  him  in  every  way, 
in  every  direction,  and  leaves  the  peculiar  impress  of  his  own 
thought  on  every  detail.     How  different  is  that  from  the  greater 
freshness  and  variety  which  used  to  be  attained  by  the  exercise 
of  many  minds  upon  the  same  building,  in  those  days  when  the 
genius  of  traditional  art  and  craft  was  a  living  force  in  England  ! 

The  decay  of  the  traditional  crafts  being  an  irre- 
parable loss  to  the  advancement  and  well-being  of  the  decorative 
and  applied  arts,  there  were  many  who,  during  the  latter  part 
of  the  nineteenth  century,  followed  the  example  set  by  Mr.  Walter 
Crane  and  Mr.  William  Morris,  and  a  revival  of  the  crafts  was  begun 
with  much  patience  and  enthusiasm.  An  earlier  attempt  had 
been  made  by  Pugin,  more  especially  with  reference  to  painted 
glass  and  wrought  ironwork,  and  those  arts  which  were  associated 
with  ecclesiastical  furniture  and  decoration  ;  but  the  Art  and 
Craft  movement  of  the  present  day,  while  not  by  any  means 
ignoring  ecclesiastical  art,  sets  itself  especially  to  the  task  of  exert- 
ing an  elevating  and  ennobling  influence  on  the  home  Hfe. 

The  movement  at  first  took  the  form  of  a  propa- 


22 


The    Modern    Home 

ganda,  but  various  guilds  of  work  were  started  after  a  while, 
more  or  less  on  a  philanthropic  basis,  and  in  the  classes  belonging 
to  these  guilds  boys  were  taught  various  kinds  of  craftsmanship. 
It  was  soon  reahzed,  too,  that  the  true  aim  of  these  efforts  was  none 
other  than  the  regeneration  of  the  applied  arts,  and  that  this 
could  not  be  achieved  unless  the  movement  were  made  to  rest 
on  a  sound  financial  basis.  In  other  words,  the  articles  manu- 
factured by  the  guilds  must  compete  successfully  in  the  open 
market  against  the  machine-stamped  stock-in-trade  of  the  average 
manufacturer.  Articles  made  by  hand  could  not  be  sold  for  the 
same  price  as  the  stock-in-trade  wares,  but  their  greater  excellence 
would  at  once  commend  them  to  the  discerning,  who  would 
willingly  pay  the  higher  price. 

The  Arts  and  Crafts  movement  has  prospered 
amazingly,  it  is  becoming  a  mighty  force  ;  and  here  is  evidence 
at  once  both  of  its  value  to  the  community  and  of  an  intelUgent 
appreciation  on  the  part  of  the  pubUc,  an  appreciation  which 
is  likely  to  increase  as  the  newer  generation  educated  in  the  Art 
Schools  displaces  the  old.  Not  the  least  satisfactory  circum- 
stance of  the  revival  is  the  number  of  young  men  who  have  spent 
their  student  days  in  the  study  of  architecture,  and  have  thus 
been  impressed  by  the  importance  of  the  recognition,  in  apphed 
arts,  of  structure  and  material.  The  work  of  the  various  guilds 
is  a  great  boon  to  the  architect  who  is  engaged  upon  house  building. 
Indeed,  it  is  his  emancipation  from  the  trade  catalogue  ;  it  gives 
him  the  power  of  securing  for  his  client  the  qualities  of  uniqueness 
and  individuaUty,  not  only  in  the  house  itself  but  in  even  the  most 
minute  fitting.  To-day,  then,  in  the  equipment  and  decoration 
of  a  home,  the  product  of  many  minds  may  be  used  as  in  the 
past,  to  supply  that  variety  of  treatment  which  would  be  lacking, 
were  it  incumbent  upon  the  architect  either  to  design  all  the 
fittings  himself  or  to  select  them  from  stock  patterns.  But  let 
us  remember  also  that  the  teaching  associated  with  the  revival 
of  the  crafts  does  not  stop  at  applied  art,  but  includes  architecture 
itself,  laying  great  emphasis  upon  the  importance  of  construction, 
and  the  right  use  of  material. 


23 


The    Home    from    Outside 

So  far,  so  good.  But  excesses  of  enthusiasm  came, 
wild  and  foolish  excesses,  that  proved  to  be  a  reversion  to  pre- 
historic barbarity.  The  "  New  Art  "  craze  came  into  being, 
and  it  is  still  so  recent  that  we  can  hardly  yet  realize  that  it  was 
and  is  a  nightmare  and  not  a  permanent  reality.  Is  it  not  extra- 
ordinary, and  not  a  little  inconsistent,  that  those  who  were  ad- 
vocating the  revival  of  craft  traditions  should  have  deprecated 
the  continuance  of  architectural  tradition  also,  seeking  to  remove 
that  rudder  which,  all  along  the  history  of  the  world's  architectural 
development,  is  seen  to  be  the  steadying  and  steering  agent  ? 
Thus  relieved  of  guidance  and  restraint  every  man  did  that  which 
was  right  in  his  own  eyes,  until  his  better  sense  recoiled  at  the 
lawlessness  and  licence  to  be  witnessed  everywhere.  To  be 
merely  original  is  easy  enough.  The  New  Art  having  detached 
itself  from  the  past,  sought  originality  first,  an  aggressive  and 
self-advertising  originality,  showing  no  respect  for  the  virtues 
of  reticence  and  the  sense  of  fine  proportion. 

Still,  too  much  stress  may  be  laid  on  the  New  Art 
movement,  for  it  has  not  taken  any  real  hold  on  British  domestic 
architecture,  which  has  quietly  and  steadily  progressed,  unaffected 
by  the  New  Art  eccentricities.  It  is  to  the  work  of  men  like 
Mr.  Lutyens,  Mr.  Guy  Dawber,  Mr.  Lorimer,  Mr.  Ernest  Newton, 
Mr.  W.  H.  Brierley,  Mr.  E.  S.  Prior,  Mr.  Gerald  C.  Horsley,  Mr. 
E.  J.  May,  Mr.  Herbert  Baker,  Mr.  Arnold  Mitchell,  Mr.  R.  W. 
Schultz,  that  we  must  turn  if  we  wish  to  realize  the  high  achieve- 
ments of  the  art  at  the  present  time.  And  the  one  quality  which 
is  written  upon  the  work  of  these  masters — written  in  characters 
so  distinct  that  he  who  runs  may  read — is,  reticence.  There 
is  no  parade  of  effort,  no  striving  for  effect,  no  desire  to  advertise 
the  architect  at  the  expense  of  his  building,  and,  one  may  add, 
at  his  client's  cost.  For,  although  the  chent  may  not  suffer 
pecuniarily,  it  must  be  a  daily  torture  to  a  sensitive  man  to  be 
confronted  continually  by  the  misdirected  efforts  of  his  architect's 
undisciplined  originality. 

As  examples  of  reticence,  take  Mr.  Lutyens'  "  High 
Walls  "    (page  70),  and  Mr.  Dawber 's  house  at  Denbigh  (page 


24 


The    Modern    Home 

35),  and  the  charming  Uttle  house  at  Langstrothdale  (page  46), 
by  Mr.  Harold  Henderson.  All  ahke  illustrate  the  same  charac- 
teristics, and  they  are  precisely  those  good  qualities  which  have 
won  an  honoured  place  for  modern  EngHsh  house  building. 

There  is,  to  begin  with,  the  traditional  note  that 
rings  clearly  through  all  the  best  work.  One  has  not  seen  any- 
thing exactly  hke  these  three  buildings  before,  but  they  awaken 
associations  of  ideas,  and  reminiscences.  Mr.  Dawber,  for  instance, 
as  in  so  much  of  his  work,  shows  with  intimate  knowledge  his 
sympathy  for  the  old  Cotswold  manor  houses  and  farms,  while 
Mr.  Henderson  proves  his  study  of  old  Yorkshire  buildings. 

And  yet  these  houses  are  not  copies,  far  from  it, 
for  there  is  distinct  originality  of  the  right  sort.  Here  the  tradi- 
tional has  been  selected  only  as  a  base  to  work  upon  :  its  elements 
have  been  modified  and  re-combined,  they  are  adapted  to  meet 
the  needs  of  the  present  day.  In  a  word,  the  traditional  has 
been  brought  up  to  date.  And  what,  indeed,  is  all  progress  but 
that  ?  The  traditional  is  no  doubt  the  survival  of  the  fittest,  and 
therefore  it  embodies  that  which  is  best  suited  to  the  conditions 
of  any  given  time.  The  broad  conditions  of  life  now  are  similar 
to  those  which  prevailed  when  the  Cotswold  farms  were  built, 
the  details  only  have  varied.  Then  why  neglect  to  learn  from 
the  wisdom  and  experience  of  our  forefathers  ?  Why  make  a 
new  start  at  the  beginning,  at  first  principles,  and  put  a  lintel 
on  two  posts  Stonehenge-wise,  and  call  it  a  doorway,  and  so 
build  up  a  "  new  and  consistent  style  ?  " 

We  do  not  want  a  new  style.  We  are  reverent 
as  a  people,  and  we  are  not  only  proud  of  the  heritage  which 
our  fathers  have  left  us,  but  we  wish  to  feel  that  our  dwelling- 
houses  trace  their  lineage  also  from  those  of  old  time,  and  echo 
by  their  similar  disposition  of  stone  gable  or  mullioned  window 
some  of  the  romance  that  attaches  to  the  old  buildings. 

This  same  sentiment  pervades  the  modern  house 
plan.  From  the  days  when  Mr.  Norman  Shaw  planned  those 
finely  designed  ingles  at  Dawpool  or  at  EUerdale  Road,  Hamp- 
stead,  the  fireside  ingle  has  been  recognized  as  one  of  the  most 


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THE    DRAWING    UY    llAKOLU    SlliVltNS. 


25 


The    Home    from    Outside 

pleasing  and  luxurious  features  of  modern  house  planning.  Yet 
one  may  doubt  if  its  popularity  is  due  solely,  or  even  chiefly,  to 
its  design  or  to  its  comfort.  Had  we  not  known  the  quaint  charm 
of- the  cottage  and  farmhouse  ingle,  or  remembered  the  romantic 
feelings  with  which  we  associated  it  in  our  childhood,  it  is  prob- 
able that  we  should  not  derive  quite  the  same  pleasure'^  from 
our  fireside.  It  is  the  ingle's  old-world  association,  not  its  shape, 
that  gives  it  the  quaintness  we  prize^so  highly.  Many  of  the 
plans  here  illustrated  will  bear  witness  to  the  popularity  of  the 
ingle.  In  Mr.  Mitchell's  house  in  Berkshire  we  find  the  ingle 
happily  extended  to  even  the  chamber  plan. 

A  second  feature  in  the  modern  house  plan  which 
is  hallowed  by  the  romance  of  the  old  farm  and  manor  house, 
is  the  dwelling-hall.  Like  the  ingle,  it  owes  its  revival  very 
largely  to  Mr.  Norman  Shaw,  or  at  least  its  estabhshment  as  an 
essential  part  of  the  modern  house. 

We  have  seen  how,  in  the  mid-Victoiian  days,  the 
hall  became  degraded  to  a  passage,  cold  and  cheerless ;  it  was 
lighted  from  a  window  on  the  first  stair  landing,  or  by  a  glimmer 
that  struggled  through  the  narrow  well-hole  from  a  skylight 
far  above.  No  sense  of  warmth,  or  comfort,  or  hospitality  struck 
the  visitor  on  entering  the  house,  nor  was  it  deemed  necessary 
that  a  house  should  express  any  sentiment  in  those  prosaic  days. 
How  different  is  the  picture  that  presents  itself  on  entering  even 
a   small    house   to-day ! 

The  treatment  of  the  staircase,  again,  has  undergone 
a  change  ;  for  instead  of  crawling  along  the  side  of  the  passage- 
hall  in  two  long  flights,  we  often  find  it,  even  in  a  middle-class 
house,  in  a  more  or  less  square  compartment  of  its  own,  which 
is  entered  through  an  open  screen  or  archway  from  the  hall,  and 
which  may  be  readily  curtained  off,  or  even  shut  off  by  a  door  ; 
and  thus  the  draught  of  cold  air  from  the  upper  landings  is  pre- 
vented from  descending  into  the  hall,  and  this  improvement 
adds  to  the  comfort  of  every  room  on  the  ground  floor.  This, 
too,  is  but  a  revival  of  an  earlier  way  of  arranging  the  staircase. 

Mr.   Baillie  Scott   shows   this    arrangement   in   his 


26 


The  Modern    Home 

house  at  Hurlingham  (page  48),  and  it  is  adopted  by  Mr.  Voyscy 
in  the  cottage-house  at  Bushey  (page  54). 

The  modern  house  is  remarkable  also  for  what  may 
be  called  the  pictorial  treatment  of  the  interior. 

We  cannot  hope,  in  our  colder  cUmate,  and  under 
our  gray  skies,  to  obtain  in  our  homes  a  great  wealth  of  colour  united 
to  glowing  vistas.  But  a  vista  does  not  depend  upon  colour  for 
its  principal  charm.  It  is  the  stimulus  to  the  imagination  wherein 
that  hes.  It  is  the  glimpse  beyond  the  immediate  surroundings, 
partly  hidden  and  partly  revealed,  that  excites  the  desire  to 
go  and  explore  those  parts  to  which  distance  has  lent  a  certain 
enchantment.  It  is  just  in  this  respect  that  the  hall  and  staircase, 
with  able  handling,  can  be  made  so  effective.  In  this  imaginative 
treatment  of  the  interior  of  small  houses,  Mr.  Baillie  Scott  has 
struck  out  a  path  for  himself,  and  followed  it  with  remarkable 
success.  His  plans  are  always  interesting,  because  there  is  always 
that  in  them  which  is  beyond  the  purely  economical  and  the 
severely  practical,  which  often  means  the  severely  common- 
place. A  good  plan  is  all  the  more  delightful  if  it  contains  a 
little  day-dreaming.  To  be  sure,  the  economical  and  practical 
are  absolutely  essential ;  no  'one  denies  it,  but  let  him  who  prides 
himself  on  his  practical  planning  remember  always  that  practical 
planning  is  not  sufficient  to  make  a  fine  interior.  There  must 
be  poetry  as  well  as  mathematics  ;  and,  speaking  for  myself, 
and  probably  for  many  others  too,  one  would  rather  have  the 
poetry  and  a  little  inconvenience,  than  sacrifice  the  poetry  for  a 
plan  of  immaculate  economy. 

But  there  is  even  a  practical  objection  to  the  econom- 
ical plan  ;  there  are  no  httle  chinks  in  it  for  closets  and  cupboards, 
so  dearly  loved  of  the  orderly  housewife. 

Let  it  not  be  thought  for  a  moment  that  economical 
or  practical  planning  is  here  deprecated.  What  we  should  remem- 
ber is  the  fact  that  its  universal  acknowledgment  often  obscures 
the  claims  of  the  imagination  to  its  share  in  the  plan.  Practical 
planning  is  more  essential  in  these  luxurious  days  than  at  any 
time  in  the  past,  although  one  cannot  read  Bacon's  essay  "  On 


The    Home    from    Outside 

Building,"  without  being  struck  by  the  attention  he  pays  to 
practical  details.  He  hints,  for  example,  at  the  necessity  of 
keeping  the  smell  of  the  cooking  confined  to  the  servants'  quarters, 
and  it  is  a  precaution  as  essential  to-day  in  the  small  house  as 
it  was  then  in  the  magnificent  mansion  of  his  imagination. 

The  increase  in  domestic  luxury  is  indeed  one  of 
the  characteristics  of  our  time,  and  the  architect  must  be  alert 
to  supply  the  demand.  What  more  remarkable  example  of 
the  increased  comfort  of  modern  living  could  be  cited  than  the 
lighting  of  our  houses  ?  In  the  early  Victorian  days  it  was  still 
necessary  to  stand  shivering  on  a  cold  winter's  morning,  vainly 
striving  to  light  the  sulphur-tipped  splint  from  the  tinder  ignited 
by  a  flint  spark.  The  invention  of  the  Inciter  match  for  ever 
abolished  those  good  old  days.  Still  lamps  had  to  be  filled  and 
candles  snuffed,  until,  with  the  introduction  of  gas,  it  was  necessary 
only  to  light  a  match  and  turn  a  tap  to  find  one's  self  in  a  well- 
lighted  room.  At  present,  if  one  lies  awake  at  night  one  has 
only  to  thrust  one's  hand  under  the  pillow  and  press  a  button, 
and  lo  !  a  brilliant  electric  lamp,  pendant  over  the  bed,  shines 
forth  as  if  by  magic.  We  take  a  novel  from  the  bedside,  read 
a  chapter,  turn  over  to  sleep,  and  in  turning,  almost  unconsciously, 
we  extinguish  the  light.  And  the  architect  must  scheme  his 
lighting  with  due  regard  to  these  requirements  of  modern  luxury  ; 
he  must  plan  it  out  from  the  first,  for  the  artificial  lighting  of  a 
room  is  only  a  degree  less  important  than  the  window  lighting, 
which  must  be  a  matter  of  careful  study  also  to  the  designer  of 
modern  homes. 

As  with  the  fighting,  so,  too,  with  the  heating. 
The  modern  house,  to  meet  the  required  standard  of  comfort, 
must  have  its  open  fires  supplemented  by  radiators.  It  is  only 
by  heating  the  stair  landings  and  passages  that  cold  draughts 
can  be  prevented,  and  the  temperature  outside  a  dweUing-room 
be  raised  sufficiently  to  prevent  cold  air  from  blowing  under 
the  door  to  the  discomfort  of  those  sitting  around  the  fire.  At 
one  time,  baths  were  the  luxury  of  the  rich,  now  they  are  provided 
in  the  smallest  cottage.    Thus  the  cleverly  planned  Pair  of  Little 


28 


The    Modern    Home 

Cottages,  by  Mr.  Prentice,  (see  colour-plate),  has  a  bathroom, 
while  those  by  Mr.  Lionel  Crane  (pp.  53, 96) and  by  Mr.  F.  W.  Troup 
have  baths  provided  in  the  scullery,  in  close  proximity  to  the 
boiler.  Mr.  Troup  shows  in  his  plan  an  ingenious  arrangement 
of  doors  whereby  the  corner  of  the  scullery  containing  the  bath 
is  screened  off  to  make  a  private  bathroom  (page  95). 

Until  comparatively  recent  days  bathrooms  were 
not  provided  even  in  large  houses ;  now  in  the  middle-sized  house 
we  consider  it  essential  to  provide  a  bathroom  containing  a 
lavatory,  and  we  need  a  housemaid's  closet  too,  and  a  lavatory 
and  cloak  room  in  the  vicinity  of  the  front  entrance  ;  whereas 
formerly  the  only  accommodation  there  provided  was  a  stand 
for  hats  and  coats. 

Even  our  most  practical  architect  will  not  deny 
that  the  plan  is  not  the  only  consideration  that  requires  his  care, 
and  although  he  may  object  to  give  his  elevations  any  thought 
until  his  plan  is  irrevocably  fixed,  he  will  admit  the  necessity 
of  considering  his  materials,  even  though  his  chief  care  would 
probably  be  to  secure  those  whose  hard  texture  not  only  guaran- 
teed their  durability  but  ensured  their  remaining  bright  and 
clean  and  red.  Alas  for  the  many  houses  irritatingly  crude  in 
colour  and  hard  in  treatment,  they  prove  how  many  house  builders 
there  are  who  have  not  yet  awakened  to  the  idea  that  there  is 
an  artistic  treatment  of  material. 

Perhaps  there  are  few  architects  who  study  their 
material  so  carefully,  or  who  succeed  with  it  so  well,  as  Mr.  Lutyens. 
His  buildings  are  a  pleasure  to  study  on  this  account  alone,  and 
although  a  very  fair  representation  of  his  skilful  treatment  is 
given  in  the  photographs  of  the  entrance  pavement  at  Monkton 
(page  80),  and  the  stone  waUing  of  the  house  "  High  \A'alls  " 
(p.  70),  yet  the  work  itself  must  be  seen  to  be  fully  appreciated. 
The  student  of  this  book  will  consider  with  dehght  the  new 
designs  by  Mr.  Lutyens  which  are  reproduced  in  coloiu". 

Mr.  Guy  Dawber,  in  like  manner,  is  most  careful  of 
his  material,  and  his  houses  show  how  thoroughly  he  has  mas- 
tered its  proper  manipulation. 


29 


The    Home   from    Outside 

The  treatment  of  brickwork  is  discussed  at  some 
length  earUer  in  this  article,  but  one  may  add  that  the  majority 
of  architects  still  fail  to  give  due  consideration  to  the  artistic 
use  of  that  material,  and  therefore  one  is  not  surprised  to  find 
that  the  general  pubhc  is  altogether  ignorant  of  the  subject. 
Most  people  would  at  once  condemn  as  bad  workmanship  the 
adniirable  paving  of  Mr.  Lutyens'  circular  forecourt  at  Monkton, 
drawing  attention  to  the  fact  that  it  is  not  perfectly  regular  and 
closely  jointed.  Not  very  long  ago  even  architects  themselves, 
with  but  few  exceptions,  gave  no  consideration  to  surface  tex- 
ture. The  right  treatment  of  material  is,  in  fact,  one  of  the 
excellences  of  recent  domestic  work. 

As  might  be  expected,  those  who  are  careful  of 
the  right  quality  of  their  material  are  careful  also  that  it  is  rightly 
put  together  ;  in  other  words,  that  the  construction  is  sound 
and  sincere.  Yet  there  are  two  directions  in  which  the  best 
intentioned  are  tempted  to  go  astray.  One  is  the  casing  of  steel 
joists  to  look  like  solid  oak  beams,  and  the  so-called  half-timber 
construction  is  the  second.  In  many  districts  the  bye-laws 
prohibit  half-timber  work,  unless  it  is  backed  by  a  brick  wall. 
This  does  not  deter  the  half-timber  enthusiast,  for  he  nails  his 
half-timber  inch  deal  boarding  to  the  wall,  puts  plaster  in  be- 
tween, and  lo  !  a  timber  house  of  the  old  style.  All  timber 
construction  must  be  soUd,  and  must  be  of  oak  ]  the  oak  pins 
will  then  be  an  integral  part  of  the  construction,  and  not  stuck 
on  to  deal  boards  to  mislead  the  ignorant. 

As  to  interior  decoration,  the  most  notable  advance 
belongs  to  these  later  days,  and  is  the  beneficent  result  of  the 
Arts  and  Crafts  movement.  Thanks  to  the  ever  widening  influ- 
ence of  this  splendid  renaissance  of  the  crafts,  the  methods  and 
materials  of  house  furnishing  and  decoration  have  come  under 
its  sway  one  by  one.  So  that  the  house  of  to-day  can  present 
modelled  plaster  ceiHngs  that  bear  comparison  with  those  of 
the  later  Renaissance,  and  has  exchanged  the  cast-iron  rain-water 
head  and  down  pipe  for  one  of  cast  lead,  decorated — and  often 
very  originally  decorated — in  accordance  with  the  best  tra- 
ditions of  the  craft. 


30 


The    Modern    Home 

Gas  and  electric  light  fittings,  door  furniture  and  fire 
grates,  demonstrate  also  the  power  of  the  craft  revival  to  re-awaken 
to  a  life  of  beauty  those  objects  of  everyday  use  which  had  been 
degraded  by  neglect,  and  the  cheap  methods  of  machine  production. 

Meantime,  while  the  house  may  be  all  beautiful  within, 
its  outward  aspect  has  not  been  neglected,  as  indeed  the  illus- 
trations of  this  volume  will  prove  beyond  doubt.  It  has  already 
been  shown  how  the  earher  and  more  picturesque  gabled  house 
gave  place  in  the  later  Renaissance  to  the  symmetrical  fagade 
with  hipped  roof,  and  the  earher  casement  windows  became 
sash  windows  set  under  brick  arches.  Two  allied  but  yet  differ- 
ing styles  of  traditional  house  design  thus  presented  themselves 
to  those  who  had  set  before  themselves  the  task  of  reviving  English 
domestic  architecture.  Mr.  Norman  Shaw,  in  his  earUer  work, 
incUned  to  the  gabled  style,  but  in  his  later  designs,  as  illustrated 
by  his  noble  house  at  Queen's  Gate,  he  adopted  the  latter.  It 
is  a  remarkable  fact  that  Mr.  Shaw  not  only  attempted  to  em- 
ploy, but  entirely  succeeded  in  employing,  the  casement  window 
and  sash  window  side  by  side  in  the  same  house.  In  the  domestic 
architecture  of  the  present  time  some  architects  show  a  prefer- 
ence for  the  picturesque,  others  for  the  more  formal  and  stately. 
Some  of  Mr.  Ernest  Newton's  larger  houses  are  extremely  fine 
examples  of  the  latter  treatment,  and  happily  one  at  Godstone 
is  here  illustrated  on  page  36.  There  is  a  restraint  about  this 
design,  a  quiet  and  noble  dignity,  that  marks  the  work  of  the 
accomphshed  architect.  The  interior,  too,  presents  the  same 
largeness  of  conception. 

In  contrast  with  this  is  the  house  by  Messrs.  Ernest 
George  and  Yeates  (page  34),  with  its  casement  windows  and 
overhanging  gables  ;  and  Mr.  Schultz  is  represented  on  page  68 
by  a  symmetrical  facade  of  quite  a  different  character  from  that 
of  the  Enghsh  Renaissance,  it  being  a  clever  symmetrical  treat- 
ment of  the  local  Kent  and  Sussex  style  of  building.  The  work 
of  Mr.  E.  J.  May,  who  has  built  many  excellent  houses,  is  repre- 
sented by  three  good  things,  among  which  is  a  very  happily  pro- 
portioned cottage  of  timber  and  roughcast  (page  93).    Such  work 


31 


The    Home    from  Outside 

contrasts  admirably  with  the  sternly  fine  cottages  by  Mr.  Reginald 
Blomfield,  A.R.A.  (pp.  66  and  67),  and  the  small  houses  by  Mr. 
Horace  Field.  Mr.  Voysey  has  practically  made  a  style  unto 
himself,  so  individual  and  characteristic  is  the  way  in  which  he 
treats  his  subject.  He  has  succeeded  also  in  reducing  applied 
ornament  to  its  simplest  terms,  or  rather  to  an  irreducible  mini- 
mum, trusting  rather  to  the  proportions  of  his  interiors  for  effect, 
than  to  any  elaboration  of  moulding  or  applied  decoration. 

With  the  revival  of  domestic  architecture  has  come 
the  revived  interest  in  garden  design.  The  formal  and  stately 
gardens  of  the  Queen  Anne  days  and  the  early  Georgian  period, 
with  their  lines  of  cHpped  yew  hedge,  were  in  admirable  harmony 
with  the  equally  formal  and  stately  house  ;  but  this  formality 
produced  a  reaction  in  the  Victorian  days,  when  the  "  landscape 
gardener  "  attempted  to  make  a  small  rectangular  garden  pic- 
turesque by  carrying  a  sinuous  walk  round  it,  and  when  the 
flowers  were  restricted  to  long  lines  of  bedding-out  plants  in 
crude  and  gaudy  colouring.  There  has  always  been  war  to  the 
knife  between  the  landscape  gardeners  and  the  believers  in  formal 
gardens.  It  is  difficult  to  say  why,  because  each  side  should 
perceive  that  there  is  a  proper  place  for,  and  a  proper  limit  to, 
each  of  the  rival  styles.  Recently,  the  architect  has  once  more 
taken  up  the  design  of  the  garden  which  he  should  never  have 
reUnquished,  building  its  terraces  and  walled  courts,  planning 
its  rose  pergolas  and  grass  alleys,  its  herbaceous  borders  and  its 
lily  ponds,  its  retreats  and  arbours,  all  carefully  studied  in  con- 
nection with  the  architectural  hnes  of  the  house  and  the  points 
of  view  from  which  the  house  makes  the  most  agreeable  pictures 
of  gable  and  chimney.  The  garden  thus  planned  is  formal  as  it 
lies  around  the  house,  only  to  become  "  landscape"  as  it  retreats 
from  it  and  turns  into  the  wild  garden,  the  shrubbery  and  the 
woodland  walk.  The  house  thus  becomes  the  chief  adornment 
of  the  garden,  combining  with  the  foreground  of  stately  lilies  and 
delphiniums  to  form  a  delightful  picture  ;  and  the  garden  becomes 
the  extension  of  the  house,  enticing  its  inmates  by  sunny  seats 
and  shaded  walks  to  outdoor  fife. 


32 


The    Modern    Home 

Nor  is  the  recent  development  of  garden  planning 
restricted  to  the  homes  of  the  wealthy,  for  a  garden  of  reasonable 
size  is  now  considered  almost  as  essential  to  the  small  house  and 
the  cottage,  as  +he  various  schemes  for  the  formation  of  garden 
cities  bear  witness.  There  is,  at  last,  a  revolt — and  it  is  one  of 
the  most  inspiriting  signs  of  the  times — against  the  tyranny  of 
the  land  speculator  and  jerry  builder,  a  revolt  against  the  dreari- 
ness of  being  confined  in  the  long,  unlovely  street,  the  pretentious 
villa,  or  the  slum  court.  There  is  a  demand  for  pure  air  and 
the  association  of  Nature's  beauty  with  everyday  life.  The 
modern  improvements  in  the  means  of  locomotion  have  assisted 
this  revolt,  and  emphasized  this  demand,  and  it  is  the  privilege 
of  the  modern  architect,  as  well  as  his  gain,  to  play  his  part  by 
designing  small  houses,  not  only  economical  in  plan  and  in  cost, 
but  reticent  in  design. 

Many  of  the  plans  for  cottages  and  quite  small 
houses  here  illustrated  show  how  well  this  demand  is  already 
being  met,  and  how  possible  it  is  not  only  to  reduce  the  cost  by 
the  grouping  of  several  cottages  together,  but  even  to  enhance 
their  architectural  character  at  the  same  time.  Thus  the  cottages 
by  Mr.  Charles  Spooner  at  Bury  (page  6i),  by  Mr.  H.  Tanner, 
Junr.,  at  Shackleford  (page  57),  and  by  Mr.  Lionel  Crane  and  by  Mr. 
Geoffry  Lucas  (page  49,  see  colour-plate  also),  gain  by  the  long 
unbroken  line  of  roof  interrupted  only  by  chimneys  of  sufficient 
mass,  and  of  good  design. 

The  curb  which  has  recently  been  placed  upon 
the  ridiculous  and  unintelhgent  administration  of  building  bye- 
laws  has  materially  assisted  the  architect  both  in  his  elevations 
and  in  his  estimates,  and  one  looks  forward  with  confidence,  as 
one  obstacle  after  another  is  removed,  to  a  great  development 
in  the  future  of  the  small  house  and  garden  to  suit  small  incomes, 
and  to  the  successful  establishment  of  the  claim  of  the  cottage 
to  share  with  the  mansion  in  the  advancement  of  English  domestic 
architecture. 

W.    H.    BIDLAKE 


<|»MOU5C:-AT20TMEEnCLD  ■  SUSSEX'^ 


rOETh  ELEVATIOn 


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WALLS    HUNG    WITH    TILES    FROM    KENT,   THE    WINDOWS    AND    THE    EXTERNAL    WOODWORK    OK    OAK 


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36 


The   Home  from  Outside.   Elevations  and  a  Plan 


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37 


The   Home  from   Outside.   Elevations  and  Plans 


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38 


The  Home  from  Oi'tside.   Elevations 


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39 


Flans  for  a  House  at   Hakkow   Weald 


HOUSE   AT   HAKKOW   WliAI.D.   STUDY  THE   ELKVATIONS  ON  THE   OPPOSITE   PAGE 

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ELEVATlOn   C 


ELEVATIOti    D 


SCALE    OF  FEET 


ASRCIP  MiTCMfU  fai&A 
IT  l1«M  =  vea  SOUAftE.  LONDCi' 


A    PAIR    OF    DKRBYSHIRK    COTTAGES.         THE    WALLS    ARE    OK    LOCAL    LIMESTONE    WITH    A    4A    INCH    BRICK    LINING; 

THE    ROOFS    ARE    COVERED    WITH     STONE     SLATES     IN     DIMINISHING     SIZES  I      DRESSED    STANTON    STONK    FOR    THE 

WINDOWS,     DOORS.    QUOINS,    ETC.  I    THE    GLAZING    IS    IN    LEADED    SQUARES 


.Arnold    Mitc'hill,   Architt-ct 


SECTION    AA. 


SOUTH  ELEVATION 


HOl-SK    IN    BKKKSHIKK.     BUILT    OF    BRICK    AND    TILH,    WITH    IIOLLHW 


Arnold   Mitchell 


17  rtflnOVER  SQUrtBE  lOHDON 


rchitcct 


Al-TliK    THI-:    WOHKlN(;    llKAWl\(;s    FKOM    UillCll     lini    HOUSi;    WAS    liUILT 


iRNOU)  niTUItmfUA^ 


HOUSE    AT    SANDERSTEAn,     SURREY,     IN     RED    BRICK    AND     RED     TILE     WALL-HANGING.    WITH    A    ROOFING    OF    DARK 

TILES.         THERK     ARE     ELEVEN     ROOMS     ON     THE     FIRST     FLOOR.         THE     HOUSE     STANDS     IN      A     PRETTY     GARDEN. 

RECENTLY    LAID    OUT    IN    A    WOOD    OF    OAKS    AND    YEWS 


Arnold   Mitchell,   .\rcliitect 


49 


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The  Home  from  Outside.  Elevation  and  Plans 


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HOUSE     AT     BAUGHURST,      HAMPSHIRE,      BUILT    OF      BRICK     AND      ROUGHCAST,      THE      ROOFING      OF      DEEP      RED 

HAND-MADE    TILES 


Ernest  Newton,  Architect 


HOUSE    AT    BAUGHURST,    HAMPSHIRE.    SEE    THE    ELEV.ATION     ILLUSTR.ATED    ABOVE.    UNPOLISHED    OAK    IS 
USED   FOR  THE    STAIRCASE,    AND   UNPOLISHED   TEAK    FOR    THE    FIREPLACES    IN    THE    HALL,    THE    DINING- 
ROOM,  AND  THE   DRAWING-ROOM 

Ernest  Newton,   Architect 


51 


Thk    Home  from   Outside.  Elevation  and  Plans 


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TIMBKR-I'l-tAMED   THATCHED   COTTAGK  FLANS   AND    ELEVATIONS 

Dctmar  Blow,   Fernand   l^)ilk'iey  and  Ernest  Gimson,  Architects 


52 


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TllEHVR5TBV5HtyFOR:MI55-50^EI^S 


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HOUSE   IN   BUSHEY  GRANGE   ROAD,    BUSHEY,    BUILT    FOR    MISS    SOMERS.    MATERIALS:    ROUGHCAST    BRICK 
WALLS,    THE     ROOFING    OF    SAND-FACED     RED     TILES,     WINDOWS     OF     MONK'S     PARK     STONE     WITH     IRON 

CASEMENTS   AND    LEADED    LIGHTS 


C.   F.   A.  Voysey,  Architect 


55 


The  Home  from  Outside.  Perspective   Drawing  with   Plans 


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enSEMENT  PISN 


HOUSE   NEAR  CARDIFF.   MATERIALS:    ROUGHCAST   BRICK  WALLS.   THE 'ROOFING   OF  WESTMORLAND  GREEN 
SLATES.     STONE     WINDOWS    WITH     IRON    CASEMENTS     AND     LEAD    GLAZING.    THE     I'ORCH     COLUMNS    IN 

UNPOLISHED   BLACK   MARBLE 


C.   F.  A.  Voysey,  Architect 


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The  Home  from  Outside.   Elevations  and  Plans 


.3  <l^il«. .»-    v.'Sa.^Cw. 


SKETCHES     FOR     A     HOUSE     AT     EDGBASTON     AND     A     COTTAGE     AT     KING'S     HEATH,     WITH     FIVE     PLANS 

Bateman   and   Bateman,   Architects 


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SMALL    HOUSE    AT    BARNT    GREEN,    WORCESTERSHIRE,    WITH     WALLS    COVERED    WITH    ROUGHCAST    AND    A 
ROOFING     OF     OLD    TILES,     THE     COAL-PLACE     WAS    TURNED     INTO     A     SCULLERY     BEFORE    THE    HOUSE    WAS 

FINISHED 


Bateman  and  Bateman,   Architects 


59 


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lluMi:  FROM  Outside.  Elevations  and  Plans 


5W  CUrvATlON  KW  CLPVATIOM 

5UTTON   i~  AsnncLD      Norys 


Batcman  and  P.atcman,   Architects 


6o 


The  Home  from  Outside.  Perspective  Elevation  and  Two  Plans 


PLANS   OF   A    HOUSE    AT    FL'LFORD 


fit^  JVx^  Oan 


SEE   THE    illustration-    UELOW 


w-FJ-J" 


HOUSE    AT   FULFORD,    YORKSHIRE,    FOR   C.    A.    COOPER,    ESQ.   THE    WALLS   ARE    BUILT    OF    RED    HAND-MADE    LOCAL 
BRICKS,   THE    ROOFS   ARE   COVERED   WITH   THICK   SILVER-GREY    WESTMORLAND   SLATES,   THE    PORCH    IS    OF    OAK, 

THE    REST   OF   THE   WOODWORK    IS    PAINTED    WHITE 

Walter  H.  Brierlev,  Architect 


6i 


The  Home  from  Outside.  Elevations  and  Plans 


recMf-LLLVATiON- 


DESIGN    FOR     PROPOSED     COTTAGES     AT     EASTON     IN     ESSEX,     FOR    THE     EARL     AND 

COUNTESS     OF    WARWICK 

Lionel   I'.    Crane,   Architect 


Elfiro/fon   <u    K^-J't     i  L^UJ 


SKETCH 
ROUGHC 


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ASTLD,.  1KOJLL11.no    UAUi^i^s^u^   ^^^^.^  THATCHED  WITH   REEDS 


BRICK 
BRICK, 


Charles   Spooner,   Architect 


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The  Homi:  from  Outside.  Pen   Drawings 


A    SUNK    GARDEN:     DESIGNED    FOR    AN    EXISTING    HOUSE    IN    SHROPSHIRE.    MATERIALS:    WALLS    OF    BRICK    AND 
STONE,    THE    PAVEMENT    OF    STONE    FLAGS,    THE    STATUES    IN    LEAD 


H.  Tanner,  jun.,   Architect 


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HOUSE   AT   BECKENHAM    FOR   E.   J.    PRESTON.   ESQ.    M.ATERIALS  :    RED   BRICKS,    RED    SUSSEX   TILES  sFOR  THE    ROOF. 
OAK     HALF-TIMBERING     AND     LARGE     BOARDS,     THE     WINDOW     FRAMES    AND    THE     INTERNAL    JOINERYe.OF,  SOFT 

WOOD    PAINTED 


H.  Tanner,  jun..  Architect 


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3ecTioN  y-HO  DiNifsa 

ROO/A  AMD    HALL 


PLAN  OF  ClSTeRN  CH? 


MORTH    ELEVATIOM 


6 AST  ELEVATION 


GROVND    PLAN 


I'  FLOOR  PIAN 


PROPOSED      HOUSE     AND      STI-DIO     AT     STUDLAND      RAV,      DORSET,     FOR     ALFRED     SUTRO.      ESQ.       TO     BE     BUILT     OK 
ROUGHCASTED    BRICK,    A     ROOFING    OF    GREEN    SLATES    WITH    RIDGES    AND    HIPS    OF    LEAD 


C.   F.   A     Voysey,   Architt^ct 


.xoRXH  nJivxrio^^ 


C.llOi:>T)   FLOOR  Pk-V^ 


HOUSK    IN    DEVONSHIRE.    BUILT    OF    STONE    AND    GREV    TILES 


Edwin   L.   Lut 


Vm'i  PL008^PL,V?( 


.^' 


'^OITH  ELKAAIIO.N 


s,   Archilecc 


FROM     nuAWlNCS    IN    WATKK-CclLlirU     ^.^      IIAUOI.II    STKVICNS 


** 


i-MmS; 


BB 


^?fmr?^ 


SOVTH   ELEV/ITion 


txisnmj  QflovnD  ut 

-  -  -  -Bottom  OF  FoVMDflTioMS 


PROPOSl-;i>    HOUSE    FOR    LIMPSFIELD.    SURREY.    TO    BE    BUILT     OF     BRICK     AND     CEMENT     ROUGHCAST.    WITH    A 
ROOFING    OF    GRF.F.N    SLATES.    WINDOW   DRESSINGS  OF  BATH   STONE.    IRON   CASEMENTS.   TARRED  CHIMNEV-POTS 


C.   F.   A.   \'ovsev,   Architect 


'■'hi;   Homk   from   Outside.    Ph()T()(;kaphk:   \'ie\vs 


WAI.WOOn,    Sl'KRKV.   TH1-;    CARDI-.N    IKoM     lAKJ.N    1  KuM    litLuW     IHb     U-KkAi.b.    AND    SHlAVlXG    THE    KNTKANCli 

LODGE    IN    THE    DISTAN'CE 


W  \I  WOOD.    SUKKi;V,    THE    FORECOURT   ENTRAN'CE.    TMIC    HOL'SIC    IS   OE   BRICK   AND    ROfGHCAST   WrfH    A    U\Si;    OI- 
RED   BRICK   AND   A    ROOFING   OF    RED   TIIES    THE    WINDOWS   ARE    LEADED   CASEMENTS 


]•..   (iu\     l),T\vl)(_T,   .\rchilcct 


66 


The  Home  from  Outside.  Photographic  View  and  a  Plan 


fl 

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GROUXn    PLAN    1>F   A    COTTAGE    AT   APKTHORl'E.    A    PHOTO- 
GRAPHIC   \'IE\V    Ol-    WHICH     IS    GIVEN     IN    THE    ILLUSTRA- 
TION   BELOW 


COTTAGE    AT   APETHORPE,    BUILT    FOR    L.    BRASSEY,    ESQ.    MATERIALS;    EDITH-WESTON    STONE    AND   COLLV-WESTON 

SLATES 


Reqinald   Blomfield,   A.K.A.,   .\rchitect 


67 


The  Home  from  Outsii)!-;.   Photographic  View  and  a  Plan 


J"   SCALE 

GROUND    PLAN    OF   A    PAIR   OF   COTTAGES  AT    APKTHOKPK 

SEE   THE    ILLUSTRATION    Bl-LOW 


DOl'BI  r     COTTAGF     .\T     VPETlli 'Kl  1        I'llll      \  ■ 'H     I        hk\^SLV,     ESQ.     MATERIALS:     I.IH  Tll-WESTON     STONE     AND 

CCILLY  \\  i;STON    SLATES 


l^c-jinald    l^-lonificld,    .\.i\..\.,   Architect 


68 


The   }I(.)MK   from   Outside.    Photograi-hic   \'iews 


THE   CROFT     WINCHFIELI").    HANTS.    VIEW   TOWARDS   THE    L.\W.\.    FACING    S.W      MATERIALS:     RED     HAND- 
MADE   BRICKS    AND    ROOFING    TILES,    ELM    BOARDING    TO    GABLES,    ROUGH    WHITE     I'LASTER    FOR    THE 

BAYS,   ETC. 


R.  W.  Schultz,  .\rchitect 


THE   CROFT.   WINCHFIKLD.    H.\NTS,    VIEW    FROM    THE    ROSE   GARDEN    TOWARDS   THE    I.NTKANCE    ISTO    THE    HOUSE 

K.   W.   Schultz,   .\iThitect 


69 


The  Home  frcj.m   Oitside.  Photocrafhic  View  and  a  Plan 


CRouirjiiuV*, 


lliiilnMl f r f- 


4 P 


GROUND    I'LAN.OF   A    HOTSE    AT    NORTH    HKRWICK  SEE   THE    ILLUSTRATION    GIVEN    BELOW 

K.   S.   Lorimer,   A.lv.S.A.,   Architect 


MOUSE     AT     NORlll     UlTvWlLK.     MEW     IRiiM     THE     SAV.     lUlLI      (ll-     LOCAL     WHINSTONE     IIAKI.I-.U     AND 
WHITEWASHED.    WITH    SLATE-HANGING    AND    ROOFS    OF    SCOTCH    SLATES 


K.    S.    I.orimiT,    A.I\.S  A.,    Architect 


70 


Thi£   Home   from   Outside.   Phoio(.;kai>hic   Views 


HIGH    WALLS.    GULLANE.  N.B..  BLULT  OF  STONE  AND  ROOI  LD  \\  1 1  H  GKLV   I'AMlLLb.  REPRODUCED 
BV    PERMISSION    OF   THE    HON.    ALFRED    LYTTELTON 


Edwin  L.  Lutvens,  Architect 


HIGH    WALLS,   GULLANE,    N.B. 


Edwin   L.   Lutyens,   Architect 


THE    ENTRANCE    FRONT 


71 


The  Home  from  Outside.  Plans  and  a  Photographic  View 


GRC'U-iD    m\-''' 


PLANS   OF   A    WEEK-END    COTTAGE    ON    GULLANE    LINKS.   N.B. 
SEE   THE    ILLUSTRATION    GIVEN    BELOW 

R.  S.   Lorimer,  A.R.S.A.,  Architect 


\\i;i;k-i:ni)  cottagi;  on  f.ri.i.ANi-;  links,  n.u.  si:i.  the  plans  n.LrsiKA-ri:n  ARo^  e 

K.   S.   T,(irim<r,   A.Ix.S.A.,   Anliitrrt 


72 


The   Home   from   Outside.   Photoc;rai>hic  Views 


HOUSE    (IN    COURSE   OF   CONSTRUCTION;    AT    GRAFFHAM,    NEAR    PETWORTH.    SUSSEX.    BUILT    OF    BROWN     LOCAL 
STOCKS    IN    PART   ROUGHCASTED,    AND    ROOFED    WITH    PLAIN    RED    TILES 

Halsev  Ricardo,  Architect 


THE   EVOT    HOUSE,    SONNING-ON-THAMES.    BUILT    OF    LOCAL   STOCKS    ROUGHCASTED,    AND    KOOELD    WITH     I  LAIN 

RED   TILES 


Halsev  Ricardo,   Architect 


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73 


The   Home   from   Ot  rsini:.    Plans  and  a   PHOTOGRAriiir   \'iew 


COOMBE    FIELD.   GODAI.MING.    STRREV.   THE    EXTERIOR    WALLS    ARE    OF    STONE    WITH    AN     INTERIOR     LINING 

OF    BRICK.    SEE    THE    II.LUSTR.\TION    BELOW 


Gerald  C.   Horslev,  Architect 


COOMHl      I  in  1>     l,ol'\I,MlN(..    SLRRIIV.    lUTI.T   OF    THE    LOCAL    HARGATE    STONE    AND    OF    RED    ROOMNl,     FILES 
*■  ''     '  SEETHE    PLANS    ILLLSTR.^^TED    AUOVli    ON    THIS    I'A<;E 

ficiMld   C.    Tlorslev.   Archit(-ct 


74 


The  Home  from  Outside.  Photographic  View  with  Plans 


Grovnd  PLms 

0  cbirowc  AT  KvrrdDiKTMo 


MS?  MiroilDlLEWOiIMD 


^^ 


f  I  I  M  f  r 


ax: 


/caLe    or  Teet 


THE    MATERIALS   ARE    LOCAL   HAND-MADE    BRICKS    FOR    THE    WALLS,    A    PANTILED   ROOF    WITH    RED   SANDSTOCK 
■.STRINGS   AN't)   ARCHES.   THE  COST,    INXLUDING   THE   WELL   AND  THE    BOUNDAR\    FENCE,   WAS  £450 

Walter  H.   Brierley,  Architect 


75 


The   Home   erom   Octside.   Photographic   \'ie\vs 


HOUSE    AT   NORTHWOOD,    WITH    KKD    WALLS,    A    DARK  TILED    ROOF.    AND  A  WHITE   ERIEZE   OF    MODELLED    PLASTER 

Arnold    Mitchell,   Architect 


SMALL     HOUSE     AT     HARROW,     WITH     W  1 11  1  I       WAlls      Wh     KED     illlMM'.s,    AND    A    KunllNG    OF    GREEN    SLATES 

Arnold    Mitchell,    Architect 


76 


The  Homk  from  Outside.   Plans  and  a  Photographic  View 


&I?OVnD  fLOOR  PLAn 


^c«it  or  fKt 


ripjT  nooR  mw 


COTTAGES    AT    CHAPELWOOD    MAXOR.    GROUND    FLOOR    PLAN    AND    FIRST    FLOOR     PLAN.    SEE    THE    ILLUSTRATION 

BELOW 


A.   N.   Prentice.   Architect 


l|iiiiiiii!i''*'!!niiy 

;;!li;;"tii 

'"ill 


f  •  <  <  ^  S  J  "    -    ■," 


•■'!!!!!  «'M|!i 


J.V- 


COTTAGES   AT   CHAPICLWiH.D    M  \N(il;,     MAIIKIAI.S      Kl-D     HKK  K,     ODISSA    OAK     AM)    I'LAbllK.     RED     HANGING    AND 

ROOF  TILES 


A.   N.   Prentice,   Architect 


77 


Thk   Uomk   from   ( )i''isii)i':.   Plans  and  a   Photographic   Vikw 


[Ml.A/1. 


PLAXS    OF    THE    GATE    LODGE,    CHAPELWOOD     MANOR.     SEE     THE     PHOTOGRAPHIC    ILLUSTRATION     GIVEN     BELOW 

A.    N.    Prentice,   Architect 


GATE    LODGE,   l  HAI'KI  \\  ( 


MAMiK.    MATERIALS:   ODESSA    OAK    FRAMING     WITH     PLASTER    BETWEEN,    RED     HRICK 
AM)    ROUGHCAST,   AND    RED    LOCAL   TILES 


A.   N.   I'rcnticc,   Architect 


78 


The  Home  from  Outside.   Photographic  Views 


HOUSE   AT   HEYSHOTT.    NEAR    MIDHURST.  COMPLETE  COST  £1337.    IN'CLUDING  WOOD   A\D   COAL  SHED, 
GARDEN    TOOL    HOCSE,    ETC.    MATERIALS;    ROUGHCAST,    RED   BRICKS,  TILE   HANGING.  TILE   ROOF 


Horace  Field,  Architect 


HOUSE    AT     STANMOKE     IN     RED    BRICKS.     WITH    A     ROOFING     OF     SAND-FACED    TILES.    VIEW    FROM    THE    GARDEN 

Horace   Field,   Architect 


79 


The   Hdmi:   i  kum   (  )rTsiDE.  Photographic  Views 


MONKTON.    SINGLETUN,    SLSSKX,    THli    SEAT   OF   W.    lA.MHS,    ESV  .    BL'ILT    III-     bklL  K    ANU    TlLb.    \  Ii.\V 

OF   THE    FORECOURT 


lulwin    L.    Lut\X'ns,   Architect 


MONKTON,   SINGLETON.   SUSSEX 


VIEW   OF   THIv    SOUTH    FRONT 


F.dw'in    [,.    Lut\x'ns,   Architect 


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HOUSE   r.\    I'EEBLESUIKE,    N.B. 


FROM   THK   ORICINAI,   DESIGNS. 


R.   S.    Lorimer,   A.R.S.A.,  Architect. 


Sa-mlfi  «r  I  I  I  I  I  I  I  I  I  I  I 1- 


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THE   architect's    OWN    HOUSE,    VORK,    RF.rRODUCED    FROM    ORIGINAL   ELEVATIONS    AND    FLANS.        BUILT  OF   2  IN.    THICK    HAND-K 

WALK    AND    THE    LOIUJIA    FLOOR    ARE    PAVEU    WITH    DUTCH    BRICKS,    AND   THE    FORECC 


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BRICKS    FOR    THE    WAIJ.S,    ROOKED    WITH    RED    HAND-MADE    TILES,    THE    OUTSIDE    WOODWORK    OF    ENGLISH    OAK.  THE    TERRACE 

IS    LAID    Wnil    A    CHEi.tUER    Oi-     ULACK    AND    WHITE    I'EltULES    KKOM     lilE    SKASHORE. 


H0U5E  IN  PEiELEStllPE  N  B 
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SCALE  ui  rixi 


RSLOBIMER  ABSA 
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HOUSE    IN    I'EBHI.ESHIRE,    N.B. 


SEE    I  HE    COLOUR-PLATE   OF    THE    ELEVATIONS. 


R.   S.    Lorimer,   A. R.S.A.,  Architect. 


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The   Home  from  Outside.  Photographic  Views 


IINHOLME     HOLMBURY-ST.-MARY,    DORKING.   ADDITIONS   FOR   A.    P.    HOSKYNS,   ESQ.    M.ATERIALS:   THIN 
RFn     BRICK     BASE,    CEMENT     ROUGHCAST    WHITEWASHED.    OI.D    HAND-MADE     ROOFING    TILES.    THE 

WOODWORK   OF   ASH 

Horace   Farquharson   and   Norman   Evill,   Architects 


THF.    LOWE,    WELLESBOURNE,    WARWICK.   ALTERED   AND    ADDED    TO    FOR    MRS.    NICOL.    THE    MATERIALS    ARE 
RED    BRICK   AND  RED  TILES   CHOSEN   TO    MATCH   THE    OLD    PARTS   OF   THE    BUILDING 


Horace   Farquharson,  Architect 


83 


The  Home  from  Outside.   Flans  and  a  Photographic  View 


TWO  COT  TAG  E5: 

AT  RIPLEY  [NTHE 

COVNTYop5VRREY: 

HORACE  HFliLDARCHT 

1904 


TWO    COTTAGES   AT    KII'I.EV,    IN    SIJKUKY.    COSTING    i'sSS    THE     PAIR,     M  ATl-KI  AI.S  :     KOIGIICAST    AND     LOCAL    TILES 

Horace   Field,   Arcliilcct 


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TiiK  liuMi-:  FROM  Outside.   Photographic  Views 


THE    HOO,    WILLINGDON,    SUSSEX,    SHOWING    A    VIEW    OF    THE    TERRACE     WITH    OXE    OF    THE    GARDEN     HOUSES 

Edwin   L.   Lutyens,   Architect 


GROl  1'   OF    COTTAGES    AT    COLINTUN.    MIDLOTHIAN.    BUILT   OF   STONE    HAKLI-,1)    AND   W  1111  liWASHED,  AND  ROOFED 

WITH   SCOTCH   SI.ATl'lS 


Iv.   S.   LorinuT,   A.K.S.A.,    Ardiitcct 


85 


The   Home  from  Ot'tside.   Photographic  Views 


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HIGH   BARN.   GODALMING 


HIGH    BARN,    GODALMING 


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HIGH    BARN,   GOUALMING,    SURREY 


THE    PHOTOGRAPH    BY   T.    LEWIS,    BIRMINGHAM 


R.   S.   Lorimer,   A.R.S.A.,   Architect 


87 


The  Hume  from  Oi'iside.  Photograim-hc-  Viiw  with   Plan 


ifBaWViiFr"     "VtfaB   "    "     ^afsofUfiifiiMV^       hwtgwiSflna. 


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GROIM)    PLAN    OI    FOL-R   ALMSHOUSES 


AT    WESLINGTON,    L\    YORKSHIRE 


FOl'K    ALMSHOUSES     \l      W  LbLI  N  ■.,  iLiN.     \  L>KKbnll;L,    liUlLl    luK    LOKU   DLKAMORE.    MATLRL\LS  :    WALLS   OF    LOCAL 
BRICKS   1"  THICK,   THE    ROOFING   OF    HAND-MADlv    PANTILES 


Walter   TI.    Brierlev,   Architect 


The  Home  from  Outside.   Photographic  Views 


HOUSE    NEAR    MUIZENBERG.    NEAR   CAPETOWN.    SOUTH   AFRICA,    BELuM.lM,     K  i    ABE    BAILEY,    ESQ.    VIEW   OF   THE 

NORTH    FRONT 

Herbert  Baker,   Masey  cv  Sloper,  Architects 


HOUSE   ON   THE    HINDHEAD,   BUILT  OF    BRICK    AND    ROUGHCAST,    WITH    RED    BRICK    CHIMNEYS    AND    A    ROOFING 
OF    BROWN   TILES  ;   THE   WOODWORK   IS    PAINTED    WHITE     THE    DOORS   AND    THE   TRELLIS   ARE    GREEN 

Charles  Spooner,  Architect 


HOUSE  AT- 

WINSCOMBE 

SOMERSET. 


NORTH  WEST  ELEVATION 


SOUTH  EAST  ELEVATION 


IlIF.  WALLS   ARK   OF   SOLID   TLMIIER   AND   CONCRETE    RESTING  ON    A    HASE  OK   STONE.      THE   srONE   WAS   gUARKlKI)    IN 
THE   GARDEN.        ITIE    ROOFS   ARE   OF    RED   TILE.        THE  COST   WAS   ABOUT   jCjSO-       THE   TOTAL    EXTERNAL    LENGTH   OF 

TIIF.    HOUSE    IS   64F1'. 


W.    II.    Hidlike,    M.A.,  Architect. 


De>i«h  For  a.  5 mall  Country  Hou^e:      Groand^X 


Beet,      ^^ooni 


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HOUSE    ,N    BROWM    LOCAL    KRICKS    FOR    DR.    C.     F.    WAKEKIELD,    ON    NORWOOD    HILL,    CHARLWOOD,    SURUEV. 

Halsey  Ricardo,  Architect. 


89 


The  Home  tkom  Outside.  Photographic  Views 


AM 


f^r^Ji^Jipfljpwit!; 


BERRYDOWX,     HAMPS1IIK1_       MA  I  HKIAI.S ;     HKKK     AM)     IILI;     I1AX(.1\(',,     OAK     WINDOWS     AND 

LEADED    LIGHTS 


Edwin   L.   Lutvcns,   Architect 


HOUSE   ON    TABLE    MOUNTAIN,   SOUTH    AFRICA,    BUILT   BY    THE     LATE    CECIL    RHODES    FOR    RUDVARD     KIPLING 

H.rhcrt   Baker,   Masey  &  Sloper,   Architects 


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The   Home  from  Outside.   Photographic  Views 


HOUSE  AT  Rl'SHMEN,  NEAR  IPSWICH.   BUILT  OF  ROUGH   BRICK  AND  OF   ROUGHCAST  COLOURED  A  RICH 
BUFFi    THE    ROOFING    01'   BROWN  TILES,    WHITE   WOODWORK,   GREEN    SUN-SHUTTERS    AND    VERANDAH 


Charles  Spooner,  Architect 


'Uv. 


sv«A- 


COTTAGES,    BATH    STREET,    CHESTER.    BUILT    OF    LOCAL    RED    SANDSTONE,    WITH    RUABON    BRICK    CHIMNEYS 

AND    GREY-SLATED    ROOFS 


Douglas  c^  Minshull,   Architects 


93 


Thk   Home  from  Outside.   Elevations 


HOUSE     AT     FOL'R     OAKS,     NEAR     BIRMINGHAM.     BUILT     OF     RED     SANDSTOCK     BRICKS,     THE 

OF     RED     TILES 


ROOFING 


W.   H.   Bidlake,   M.A.,  Architect 


COTTAGF.    AT    CHISLEIIURST.      1111.     WINDOWS    .\NI)    THI-;     EXTERNAL    WOODWORK     ARE    OF    OAK,    THE    WALLS    ARE 

WHrn:wASHi;D,  Tin-;  hcildinc,  is  roofed  with  khnt  iii.iis 


E.  J.   May,   Architect 


94 


The   Home  from  Outside.  Photographic  Views 


HOUSE   AT   REIGATE,   SURREY. 
FROM    HOLDEN    CRAWLEY,    IN 


RED  BRICK  yUOINS,  THE  FILLING  OF  DARKER  BRICKS 
BERKSHIRE.  THE  CORNICE  OF  WOOD,  THE  ROOFS  OF 
RED,    SAND-FACED   TILES 


Horace  Field,  Architect 


I'lT   KERRO,  FORFARSHIRE.   THE  PORTION  TO  THE   RIGHT  IS  A   RESTOR.ATION.   REPRODUCED  FROM  A  PHOTOGRAPH 

R.  S.  Lorimer,   A.R.S.A.,  Architect 


95 


The  Homf.  from  Outside.  Elrvatioxs  an'd  Plans 


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NOTl  T>!  aEVMlOM 


WE3TEL£yATi0M 

-r'l  f  I  f  I  y  I  y 


COTTAGK  WITH'FIVE  ROOMS  AT  DOWNTON  HORDLE,  HAMPSHIRE.  MATERIALS:  FOUNDATIONS  AND  CHIMNEYS 
OF  BRICK.  BUILT  ON  THE  6"  BED  OF  CEMENT  CONCRETE  UNDER  THE  BUILDING.  WALLS,  FLOORS  AND  ROOF 
ALL  FORMED  OF  4"  x  ;■'  TIMBERS.  WALLS  COVERED  WITH  STEEL  LATHING  AND  CEMENT  ROUGHCAST  OUTSIDE; 
LATH     AND    PLASTER    INSIDE.    THE     SCULLERY     FLOOR    OF    CEMENT.    THE     FLOORS    ELSEWHERE    ARE    BOARDED. 

ROOFED    WITH    MAJOR'S    INTERLOCKING    TILES 


^-4. 


COTTAGE    WITH    FIVI-;    ROOMS    AT    DOWNTON    IIORDLI-..    H.VNH'SHIRE.    SEE    Till'.    Ivl.l'YATIONS   ABOVE.   THE    COST   OF 
THIS    COTTAGE     WAS    /iso    COMPLETE.     INCLUDING     DRAINS.     CESSPOOL     AND     ALL      llll:     MTTINGS     SHOWN     ON 

THE    DR.WVINGS 


I'.    W.    'I"niu]i,    .Vrcliitc'ct 


96 


The  Home  from  Outside.  Elevations  and  Two  Plans 


5idle:lcvmion' 


GK-OUND  PLAf 


BCOK.OOH  PLAN 


HOUSE    ON    THE    HINDHEAD,    SURREY.   VIEW   OF   THE    PORCH. 

A    PIECE    OF    TIMBER    CONSTRUCTION    ALL    IN    OAK,    FILLED 

IN    WITH    BRICKWORK   AND    PLASTER   WHITEWASHED 

E.  J.  May,  Architect 


DESIGN  -FOR    A    TIMBER-FRAMED    COTTAGE 

\T    LETCHWORTH,    HERTFORDSHIRE,     WITH 

GROUND    PLAN    AND    BEDROOM    PLAN 

Lionel  F.  Crane,  Architect 


SciLE  or  Feet 


ecus  or  Metros 


^^T  Floor  El.Ati 


VILLA    NEAR   OSTEND. 


FROM    THE   WORKING    DRAWINGS. 


Arnold  Mitchell,  Aivhitoct. 


Section  a  a 


!     w 


l>-'  Tloor  Tun 


COITAGES   AT   KELLINU,    NOKl-Ol.K. 


E.   S.    Prior,    M. 


I'ROM    THE    ORH.lNAl      DUAUINns. 


Architect. 


SCALE    FOR    0trAiL5 


AbHOiD  *1ITCHEU 


HOUSE    IN    HERTFORDSHIRE. 


FROM   THE    WORKING    DRAWINGS. 


Arnold  Mitchell,  Architect. 


The  Interior  and  its  Furniture 

By  Halsey   Ricardo,   Architect 

[ITHIN  the  memories  of  many  of  us,  there 
was    still   extant    a   tradition    as   to    how 
things     should     be     done     and      as     to 
which  proprieties  ought   to  be   respected  ; 
and  this  tradition   made  the   business   of 
erecting  and  completing  a  house  in  some 
respects   an   easier  matter   than   it   is   to- 
day.    The  conventions  stiU  persisting  made  for  uniformity  and 
gave  something  of  an  established  character  to  even  the  smaller 
and  simpler  forms  of  building.     When  the  carcase  of  a  house 
was  out  of  the  builder's   care,    it   passed,    for    its    completion, 
into  the  hands  of  the  furnisher,  who  himself  represented  a  school. 
His  function  was  to  supplement  the  builder's  work  with  fittings 
and  with  decoration,  and  these  were  necessarily  in  accord  with 
the  style  of  the  day,  seeing  how  small  was  the  scope  for  variation 
and  what  a  httle  tolerance  there  was  for  individuahty.     There 
was  a  "  proper  "  way  to  make  windows  and  doors  ;    there  was 
an  accepted  form  for  the  mantelpiece,  a  regulation  width  for  the 
dining-room  table.     Chintz  was  to  be  used  for  the  bedrooms  ; 
the  curtains  to  the  drawing-room   were  to  be   of   silk,  or,  faiUng 
that,  of  damask  ;   the  paper  on  its  walls  was  of  French  grey  with 
sprigs  of  flowers  in  gold  ;  the  furniture  was  either  of  white  painted 
wood  enriched  with  gold,   or  else   of  satinwood,   and  the  door 
and  window  cases  were  coloured  and  grained  to  match.     Down- 
stairs, it  was  "  oak  "   for  the  dining-room,  the  walls  flatted  in 
oil-colour  or  covered  with  a  crimson  flock  paper,  and  the  furniture 
upholstered  in    leather  or  in    rep,  with    rep  curtains  to  match. 
The  Ubrary  was  treated  in  much  the  same  way,  but  the  pre- 
vailing cast   was  rather  more   sombre   as  befitting   a   "  study." 
The  hall  was  scarcely  more  than  a  passage.     This  tradition  had 
become  in  the  fifties  a  tottering  survival,  and  the  rapid  expan- 
sion of  means  and  ideas  that  was  then  taking  place  was  more 
than  it  could  cope  with.     Machinery  proposed  to  supersede  it. 


98 


The    Modern    Home 

and  for  a  time  ran  a  riot  in  its  domain,  and  a  vast  output  of  sub- 
stitutes for  good  craftsmanship  was  poured  broadcast  over  the 
land. 

Concurrently  with  the  communism  of  machine- 
made  products,  there  was  a  hostile  individualism  that  would 
have  no  traffic  with  machinery,  nor  even  with  tradition,  as  a 
living  thing.  It  called  to  the  past  to  come  and  be  present,  and 
it  proceeded  by  dint  of  scholarship,  by  collection  of  antique 
examples,  to  construct  a  basis  whereon  a  new  departure  might 
be  developed  ;  or  if  that  were  too  ambitious  a  project,  it  might 
at  least  determine  the  date  that  was  most  significant  and  most 
suggestive  for  the  revival. 

The  over-riding  of  tradition  might  have  been  avoided 
had  we  known  how  to  use  our  new  powers,  and  had  we  but  been 
in  the  temper  to  be  patient.  It  was  too  much  to  ask  ;  and  the 
revolt  from  the  bondage  of  our  conventions  seemed  such  sure 
evidence  of  a  vigorous  renaissance  !  Moreover  the  sleek  pos- 
sibilities of  machinery  seemed  heaven-given,  bringing  comfort 
and  elegance  into  homes  that  had  sighed  for  amenities  till  now 
beyond  their  reach.  The  enrichment  has  been  a  loss,  and  we  are 
slowly  emerging  to-day  from  the  accretion  of  heartless  manu- 
facture that  overwhelms  us.  For  the  last  half  century  production 
has  been  unprincipled.  The  old  general  standard  of  comme  il 
faut  was  driven  out  of  sight  far  into  the  stagnant  backwaters 
of  remote  village  life,  and  the  craftsmen  were  given  strange  out- 
landish things  to  fashion  so  that  people  might  play  at  being  in 
another  age. 

The  gospel  of  the  Gothic  Revival  insisted  on  honesty 
of  construction  and  the  nationality  of  our  art.  It  became  a 
moral  matter  and  the  duty  of  a  clean-minded  Christian  to  keep 
himself  uncontaminated  from  the  worldhness  of  the  pagan  Classic 
trappings  around  him.  Soon  this  evangel  abated  its  passion  ; 
it  got  perverted  and  spent  in  the  channels  of  antiquarianism  ; 
virtue  consisted  in  the  coned  employment  of  styles,  and  one 
style  was  as  good  as  another.  And  now  this  virtue  has  dis- 
appeared, and  the  merit  of  modern  work  must  be  sought  in  the 


99 


The    Interior   and   its    Furniture 

ability  and  sincerity  of  the  individual  artist  who  constructs  it. 
He  gets  nothing  in  the  way  of  help  from  that  fund  of  accumulated 
experience  that  was  the  right  and  the  property  of  each  apprentice 
in  the  days  of  traditional  craft ;  he  has  to  make  his  owti  ventures 
and  endure  the  defeats  from  which  a  school  would  have  saved 
him.  In  the  exercise  of  his  vocation  he  has  to  appeal  to  an  audience 
which  has  been  debauched  by  various  influences,  chiefly  literary, 
into  the  opinion  that  there  is  no  right  at  all  in  the  matter,  beyond 
that  of  scholarship  and  good  taste.  In  the  nature  of  things  this 
ignorant  patronage  must  be  capricious,  since  it  has  no  criterion  of  its 
own  by  which  to  judge  things.  We  may  be  sure  that  we  need  the 
sympathy  of  an  artist  to  be  able  to  recognize  whether  a  novelty 
has  really  fine  qualities  or  not,  whether  there  is  really  hfe  in  it, 
capable  of  being  developed  fruitfully,  or  whether  the  signs  of 
life  that  appear  are  not  indeed  the  activities  of  dissolution.  Con- 
sequently this  inartistic  patronage  exercises  itself  for  the  most 
part  in  encouraging  copies  of  old  work,  and  is  instantly  uneasy 
as  soon  as  any  departure  from  the  recognized  models  begins  to 
appear.  It  is  so  in  all  the  arts.  The  diction  of  Carlyle  was 
measured  by  the  models  of  prose  current  in  those  days,  and  was 
found  to  be  vehement,  rough,  and  hyperbolical,  far  different 
from  the~prose  of  Swift  or  of  Addison  :  and  the  critics  cried  out 
against  it.  Carlyle  is  now  accepted  as  a  classic.  Wagner's  music 
was  an  offence  to  all  orthodox  ears.  It  was  labelled  noisy,  dis- 
cordant, tedious,  and  the  irritation  of  it  drove  some  of  his  critics 
to  traduce  his  sincerity  and  to  call  him  a  humbug.  Painting 
and  sculpture  afford  similar  instances. 

But  in  the  crafts  there  is  a  further  element  which 
helps  to  determine  its  quality,  and  that  is  serviceableness.  Of 
this  the  layman  can  form  an  opinion  securely,  but  the  odd  thing 
is  that  this  quaUty  is  one  on  which,  apparently,  he  sets  no  value. 
The  bulk  of  furniture  that  is  being  made  at  the  present  time,  is 
made  to  suit  aU  tastes  ;  it  goes  anywhere,  and  wiU  take  almost 
anything.  This  seems,  on  the  face  of  it,  to  be  the  supreme  of  ser- 
viceableness ;  but,  unfortunately,  when  furniture  is  made  without 
any  relation  to  the  position  it  has  to  occupy,  it  turns  out  to  be 


100 


The    Modern    Home 

disobliging  in  its  nature.  Being  without  any  special  relation 
to  what  it  is  to  contain  it  manages  to  be  exasperatingly  unaccom- 
modating. Moreover,  under  such  conditions,  furniture  can  have 
no  special  individual  character.  It  has  been  made  for  the  average 
man — the  one  man  that  does  not  exist,  of  all  the  many  millions 
who  have  to  surround  themselves  with  furniture.  Still,  though 
each  man  has  his  own  individuality,  he  is  the  subject  of  much 
standardization.  The  amount  of  variation  in  the  size  of  men  is 
slight ;  within  an  inch  or  so  men's  clothes  when  folded  occupy  much 
the  same  space.  Books  group  themselves  into  recognized  sizes. 
The  manufacturer  ignores  these  constants.  Wardrobes,  chests 
of  drawers  and  trunks  bear  no  relation  to  shirts  and  suits  of 
clothes  ;  while  bookcases,  even  when  the  shelves  are  adjustable, 
are  generally  too  deep,  so  that  it  is  a  perpetual  worry  to  get  the 
books  to  face  evenly,  and  one  book  loses  itself  behind  another. 

Then  again  the  height  of  furniture  shows  want 
of  thought.  There  should  be  no  parts  inaccessible  except  by 
steps,  or  even  parts  difficult  to  reach  on  foot,  except  under  very 
special  conditions.  In  most  cases  there  is  no  actual  justifica- 
tion for  being  saddled  with  these  uncomfortable  pieces  beyond 
the  common  experience  that  the  purchaser  cannot  get  properly 
proportioned  pieces.  When  the  house  and  its  fittings  grow  up 
together,  the  house  is  there  to  dictate  in  great  measure  how  the 
lesser  parts  shall  go  and  to  requisition  a  considerable  amount 
of  thought  to  ensure  a  successful  adaptation.  The  staircase  is 
a  common  offender.  In  a  town  house,  as  a  general  rule,  the 
lower  fhghts  connect  the  downstairs  sitting-rooms  with  the  draw- 
ing-room on  the  first  floor ;  people  go  up  and  down  these  flights 
in  pairs,  arm-in-arm  ;  the  staircase  is  thus  the  introduction  to 
the  principal  room  of  the  house,  and  it  is  important  that  it  should 
play  up  to  its  role,  and  make  a  good  impression  in  the  doing. 
But  in  the  country,  the  sitting-rooms  are  generally  all  on  the^ 
ground  floor,  and  the  staircase  leads  only  to  the  bedrooms.  In- 
stead of  being  the  feature  on  entrance,  it  really  should  be  quite 
away  from,  or  at  least  out  of  sight  of,  the  front  door.  Very  often 
there  is  only  one  stairs  for  all  the  service  in  the  house,  and  it 


lOI 


The    Interior   and    its    Furniture 

is  desirable  to  keep  the  engineering  and  manipulation  of  the  house 
as  unobtrusive  as  possible.  The  stairs  must  be  handy  to  the 
principal  bedrooms,  within  sight  of  the  spare  room,  and  one's 
visitors  must  be  able  to  reach  the  sitting-rooms  without  having 
to  cut  across  the  service  traffic.  A  convenient  staircase  should 
fulfil  all  these  requirements.  Boxes  have  to  be  taken  up  and 
down  the  stairs,  so  that  even  if  the  staircase  is  round  a  corner, 
it  is  not  to  be  starved  in  width  or  planned  as  a  corkscrew.  The 
illustration  to  "  Walwood  "  (page  no)  gives  what  seems  an  apt 
example  of  how  a  staircase  can  be  located  to  meet  these  views. 
The  tendency  of  furniture,  since  the  palmy  days  of 
the  XVIII  century,  has  been  to  affect  architectonic  scholarship. 
The  baluster  becomes  a  column  with  capital  and  base  complete, 
enclosing  possibly  an  arcaded  panel,  and  surmounted  by  an 
entablature  with  a  broken  pediment,  etc. — all  proper.  The  cabinet 
maker  has  been  playing  up  to  the  architect,  and  the  architect 
has  been  ruling  the  hues  for  the  cabinet  maker.  The  sense  of 
being  in  touch  with  the  straightforward  use  of  the  material  has 
in  great  measure  gone,  but  the  perfect  workmanship  and  finish 
go  far  to  atone  for  this  loss,  and  the  equilibrium  of  the  situation 
is  maintained.  However,  towards  the  end  of  the  eighteenth 
century,  architecture  had  become  academic  and  doctrinaire, 
had  stiffened  into  a  bare  formahsm,  and  all  the  "  moveables  " 
tried  to  range  themselves  in  sympathy  with  this  dry  sense  of 
culture.  After  the  stress  of  the  Gothic  revival  had  abated  some- 
what, the  hand  of  the  architect  still  showed  itself,  the  classic 
cornices  and  entablatures  reappeared,  only  by  this  time  machinery 
had  asserted  itself  in  the  workshops  and  mechanically  cut  mould- 
ings rioted  luxuriantly  over  every  piece  of  cabinet  work.  But 
the  excuse  for  this  unnatural  detail  was  gone.  The  justification 
for  this  wealth  of  ornament  was  the  pride  and  dexterity  of  the 
craftsman,  and  as  soon  as  machine- work  imitation  had  sup- 
planted his  skill,  the  loss  of  his  personality  meant  the  loss  of 
interest  in  the  thing  made.  Moreover,  to  justify  the  properties 
of  the  machine  and  the  expense  of  its  construction,  it  was  neces- 
sary to  keep  it   incessantly  at  work,  and    so    enrichment    was 


I02 


The    Modern    Home 

plastered  all  over  the  piece,  to  get  a  remunerative  dividend  on 
the  capital  invested  in  the  machine.  Its  merits,  too,  stood  in 
its  own  hght.  A  machine  can  turn  you  out  acres  of  panelUng, 
all  beautifully  true  and  uniform — and  uninteresting.  Until  the 
chill  accuracy  is  broken  up  by  pictures  and  furniture,  it  is  almost 
intolerable  ;  the  colour  and  the  figure  of  the  grain  of  the  wood 
give  one  the  sole  relief,  until  the  furniture  comes  to  break  its 
drear  monotony.  It  is  not  that  machine  work  should  not  be 
introduced,  it  is  necessary  and  inevitable,  but  it  should  be  kept 
quietly  in  the  background,  giving  us  the  comfortable  feehng  of 
material  and  colour  ;  and  the  eye  when  it  rests  on  any  feature 
in  the  room  should  have  the  refreshment  of  looking  at  a  bit  of 
handwork,  and  derive  from  it  some  of  the  pleasure  the  craftsman 
had  in  devising  it.  Take  Mr.  Lorimer's  "  Oak  Hall  in  a  House 
in  Cumberland  "  as  an  instance  of  such  treatment  (page  ii6). 
The  eye  instinctively  makes  for  the  carving  on  the  fireplace  and 
to  the  gallery.  Ornament  is  the  blossom  that  comes  to  crown 
sincere  and  thoughtful  workmanship.  If  it  be  not  this,  if  the 
craftsman  has  no  real  thought  or  experience  to  communicate, 
it  becomes  mere  idle  talk,  wearying  and  obstructive.  But  if 
a  man  cares  about  what  he  is  doing,  takes  a  pleasure  in  developing 
the  resources  of  the  material  he  is  handling,  and  desires  to  set 
them  off  in  the  best  hght  they  can  afford,  he  will  give  evidences 
of  his  affection  for  his  subject.  Art  is  man's  message  to  man. 
WilUam  Morris's  dictum,  "  Have  nothing  in  your  house  that 
you  do  not  know  to  be  useful  or  beUeve  to  be  beautiful,"  is  a 
good  working  formula  :  and  let  us  prize  good  workmanship  as 
one  of  the  prime  ingredients  of  beauty. 

There  is  no  need  to  have  the  usual  congestion  of 
furniture  in  a  room.  Most  rooms  are  woefully  overcrowded. 
In  one's  passage  through  life  there  is  a  generad  accretion  of  posses- 
sions, but  let  us  begin  on  a  simple  scale  and  try  to  keep  the 
apparatus  of  hfe  as  much  within  bounds  as  possible.  In  these 
days  of  continuous  effort  to  diminish  the  burden  of  service,  every 
piece  of  not  strictly  necessary  furniture  means  so  much  more 
labour  for  the  housemaid,  so  much  more  area  for  the  accumula- 


103 


The    Interior   and   its    Furniture 

tion  of  dust  and  dirt,  and  so  much  more  opportunity  for  accident 
and  damage.  We  are  taught  to  look  upon  projecting  surfaces 
as  fraught  with  danger  and  disease,  we  are  advised  to  round 
every  corner  and  angle  to  diminish  the  harbourage  of  germs 
and  to  facilitate  the  easy  removal  of  them  from  their  resting- 
places  ;  and  though  we  are  not  bound  to  carry  out  these  counsels 
to  their  last  logical  conclusions,  our  furniture  should  not  be  wanton 
offenders  against  them. 

Moreover,  as  all  these  illustrations  go  to  show,  we 
can  to  a  large  extent  abjure  those  incriminated  ledges  and 
projections  to  our  furniture — for  one  of  their  striking  char- 
acteristics is  the  ease  with  which  they  can  be  dusted  and 
kept  clean.  The  illustrations  of  the  house  in  Maida  Vale 
(pages  io8,  no),  and  the  Hall  of  the  Cambridge  House,  the 
Makings  (page  114),  show  how  much  may  be  gained  by  the 
absence  of  the  usual  plethora  of  room  furniture.  It  comes 
almost  as  a  surprise  to  find  that  an  ordinary  London  house  can 
be  made  to  look  so  airy  and  spacious,  and  yet  the  addition  of 
these  qualities  is  got  chiefly  by  the  renunciation  of  what  are  after 
all  but  our  superfluities.  There  was — and  still  is — an  idea  that 
if  the  things  in  themselves  are  beautiful,  one  cannot  have  too 
many  of  them.  A  glance  into  a  museum  ought  to  be  enough 
to  dispel  that  notion.  Is  there,  in  aU  the  wide  world,  so  un- 
homely  a  place  as  a  museum  or  a  gaUery  of  art  ?  Museums 
have  their  uses  indubitably.  They  are  custodians  of  relics  of 
past  times,  of  masterpieces  ;  they  are  rescue-homes  for  articles 
that  need  protecting  from  neglect  or  from  the  brutal  lust  of  de- 
struction that  ramps  abroad ;  and  they  are  centres  of  education, 
showing  to  the  craftsman  those  models  of  what  has  been  done, 
and  by  their  chronological  sequence  how  the  results  came  about. 
But  these  collections  though  instructive  are  not  beautiful.  In- 
deed, they  are  only  our  poor  best  endeavour,  in  a  rather  bad 
state  of  affairs.  Many  of  the  enclosed  treasures  have  been  ravished 
from  their  proper  surroundings  and  are  set  down  forlornly  away 
from  their  context,  and  out  of  relation  to  the  places  for  which 
they  were  designed.     Like  jewels  torn  out  of  their  setting,  they 


I04 


The    Modern    Home 

still  are  intrinsically  valuable  ;  they  cannot,  because  of  their 
rarity,  be  replaced  ;  they  have  the  virtues  that  naked  jewels 
have,  but  their  full  beauty  is  hardly  to  be  measured,  because 
one  must  supply,  in  imagination,  the  proper  foils  and  back- 
ground, and  for  this  much  knowledge  as  well  as  imagination  is 
required.  Chimney-pieces,  bits  of  panelling,  plaster  ceihngs 
disjecta  membra  of  what  was  once  a  room,  are  exposed  to  our 
gaze  as  might  be  the  feathers  of  some  historic  fowl — the  bird 
really  was  the  object  of  beauty,  the  feathers  were  important 
factors  no  doubt,  but  it  was  their  precise  synthesis  that  made 
the  charm.  Nor  is  there  very  much  room  for  special  design  in 
these  feathers  ;  not  much  more  development  is  possible  in  panel- 
lings or  in  chairs,  for  instance  ;  new  methods  for  the  more  com- 
plete combustion  of  coal  may  make  slight  variations  in  the  form 
of  our  fireplaces,  but,  broadly  speaking,  the  main  forms  and 
dimensions  of  our  room  fittings  have  become  fixed.  A  door,  a 
chair,  or  a  table  bears  a  distinct  relation  to  the  himian  beings 
who  are  to  use  it.  The  stature  of  man  has  not  greatly  changed 
in  the  last  500  years,  the  height  and  width  of  his  chair  require 
no  adjustments,  except  to  meet  the  modern  habit  of  promiscuous 
lounging  which  our  ancestors  indulged  in  only  at  regular  periods. 
Woman's  dress  may  affect  the  width  of  a  door,  but  hardly  its 
height.  The  table  of  to-day,  as  regards  its  height  and  con- 
struction, would  suit  King  Arthur,  even  if  it  would  not  accom- 
modate all  his  knights.  The  difficulty  is  not  in  providing  the 
materials,  but  in  the  selection  and  distribution  of  them ;  it  is 
their  subordination  that  demands  the  artist's  feeling.  And 
their  use.  It  is  the  human  touch  that  crowns  the  whole.  Until 
the  house,  until  the  room  has  been  lived  in,  all  looks  inhuman, 
forbidding  ;  it  is  only  when  the  walls  and  their  contents  are 
redolent  of  human  attention  and  human  care,  that  the  interior 
and  its  furniture  can  be  a  pride  to  its  owners  and  a  joy  to  those 
who  see  and  use  them. 

HALSEY  RICARDO 


105 


The   Interior  and  its   FrRNiTiRE 


liINING  RClOM     IN     A     UOUfaE    AT     HAM  I'S  I  1    \l  i,     iJlXDdN.     Rin'ROULCliU     I'KOM     A     I'llOTOCKAl'H     HV     W.     i;.     ^,RA^■ 

R.   Xiirni.m   Sluiw,   R.A.,  Architect 


io6 


The   Intickior  and  its  Furniture 


ROOM      IN      liAMA\A\       lluUSi:,      NEAR      CIRENCESTER,      WITH      FURNITURE,      ETC.,     DESIGNED     BY 

Ernest  W.  Gimson,  Craftsman 


DR.\WING-ROOM    IN    A    HOUSE   AT   HAMPSTEAD.    LONDON  REPRODUCED    FROM    A    PHOTOGRAPH    BY   \V.    E.   GRAY 

R.   Norman   Shaw,   R.A.,   Architect 


The  Interior  and  its  Furniture 


l_ 


^■?1 


WKITIXG   CABINI  T    IN    STRIPED    .TAI.IAN    WAl.Xl'T  HOOKCASE  CABIX  ET  IN  STRIPED   ITALIAN   WALM'T 

Designed   by 

R.  S.  Lorimer,  A.R.S.A.,  Architect 


1>1N1N'G-K0()M    I'ANhl.I.i;!)    IN    irMICD    OAK,    AND    I- NKK  II 1- D    Willi    l;l;AMS   AND    A    I-"KII:/E    OE    M()DI:I.I.ED    1T,ASTI:K 

R.  S.  Lorimer,  A.K.S.A.,  Architect 


Io6 


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The   Ixtekior  and  its  Furniture 


WAI.WDOD.      Sl'KKKV,      VIUW     Ol-      THE     CORRIDOR,     SHOWIN'G     THE      ENTRANCE     TO     THE      STAIRCASE 

E.   Gu\'   Dawber,   Architect 


THE     niMNG-ROOM.     Il8,     MAIDA     VALE.     LONDON.     SHOWING     IN     A      LONDON     HOUSE     THE      EFFECT     OF     SIMPLE 

FURNITURE     AND     A     QUIET    CHIMNEY-PIECE 


E.  Guv  Dawber,  Architect 


The    Interior  and  its   F'urniture 


■yw*T*'ff"peM  I  ta  I 


HAI  I..  TABLIi,   7  FT.  2  INS.   LONG 


FROM    A   COPYRIGHT    HHOTOGR.\FH 


Hrnest   W.   Gimson,    Craftsman 


OAK   SETTEE 


FROM   A    PHOTOGRAPH 


Ernest   W.   Gimson,   Cialtsm.in 


112 


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SIDK   OK   A   SMAl.l.    l)ININ(;-K<>OM. 


IRi'M     I  HI':    OKU. IN  \1      lil-^l'.N. 


John   Cash,   Architect. 


sll>|.:    ■  .1.    A    s\I  M  I      II  \l   1  . 


!■  Ki'M    I  III.;  OIUi.INAI.   iii...>u;n. 


I  oil  11   (a^h,    Architect. 


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ii6 


The  Interior  and  its  Fttrniture 


CHAIRS    IN    SPANISH    MAHOGANY 


CHAIRS    IN    SPANISH    MAHOGANY 


Designed  by 

Charles  Spooner,  Architect 


OAK    HALI.    IN    A    HOllSE    IN    CC  MHEKI.AN  I  >,    WITH    A    GAI.LEKV    I.NKICIIKI'    WITH     A     P.AND    nv    PIERCED 

CARVING 


R.  S.  Lorimer,  A.R.S.A.,  Architect 


ThI'    Intfkior  ami  its  Furniture 


DINING-ROOM     IN    A     LONDON     HOUSE  WITH     FURNITURE    DESIGNED    BY 

Charles  Spooner  and  Arthur  J.   Penty 


DINING  ROOM    WITH    A    MODi.RN    CGKNEU-CUI'HOARD    IN    OAK,   A    MODERN    EMLXDING   UI N 1  \G   1  AliLE   I\   OAK 
AND   A   WALL    DECORATION    OI-    GOTHIC  TAPESTRY 


R.   S.    Lorimer,   A.R.S.A.,   Architect 


ii8 


ThF-     TnTFKTOR     and     its     FUKMTIIRE 


THE    HALL    IN    A    HOUSE    AT    MUl/IEN'BEKG.    CAPETOWN.   SOUTH    AFRICA.    IT' IS   LINED    WITH    CIPOLIN    MARBLE 
TO   A   HEIGHT   OF   7   FT.,    FRO.VIj^VHICH    HEIGHT    THE    GROINING   OF    PLAIN    WHITE    PLASTER   SPRINGS  _. 


SS?:.. 


DINING-RIKIM     IN     T1:AK\\  1  )(ll )     AM>     \\  Hll  !■.     I'l.AMI-.k     LN     A      IKHM.      \l      .Ml    1/ I  .\  i;i  Kl  ,,     (    \l'l    Mi\\\.      SOl.'TU 

AFRICA,    Bl'lLT    FOR    ABE    BAILEV,    ESQ. 

Herbert  Baker,   Masey  and  Sloper,  Architects 


lly 


The   I.ntkkioiv  and  its  Fukmilkl: 


V1I-;W  OF  THi;   HAII.   I\   A  HOUSE  AT  MUIZENBERG,  NEAR  CAPETOWN,  SOUTH  AlKICA 

HerbtTt   Baker,    Masey   and   Sloper,    Architects 


\UI1L1KST-ST.-MAUV.      HE  1  EKSl-lEl.lJ.     THE     SlAUvCASE     HAM,.     WITH     I'ANEl.I.ING      01-      Ai:STKIA\      0,\K     SLIUHri,V 
FUMED    AND    DULL   WAX-HOLISHED,    THE    PHOTOGRAPH     BY    THE     NHSS    PICKERINGS,    PETERSEIELD 

Horace    Fai(|uharsi)ii,    .Xrchitect 


The  Interior  and  its  Furniture 


B^ 


LIBRARY   TABLE 


L\    ENGLISH    WALNUT 


Sidney  H.  Barnsley,  Craftsman 


URESSING-ROO.M    IN    A    HOUSE    IN    FIFESHIRE.    WITH     THE     PANELLING    AND    THE     BED 
IN    OAK,   THE   PLASTER    FRIEZE   IN    RELIEF  AND   COLOURED 


K.  W.  Schultz,  Architect 


< 


8    :>^ 


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a 


121 


The   Interior  axd  its   F^fRxiTURE 


BEDROOM    FrKMTURK    IN    Tf:AK  REPRODUCKD    FROM    A    I'lll ) K  IGKAFH 

Charles   Spooner,   Architect 


BUREAU    AND   CHAIRS 


1-KOM    A    PHOTOGRAPH 


The    Chairs   l)y    Arthiii     |.    I'liUx,    Ciattsmaii 
The    lUnraii    1)\-   C'hai'lcs    Spuiuiei-,   Archilct't 


Thr   Ixtkrtor  and   its  Ftrnitukf 


- 

1 

AN    ANGLE    FIREPLACE    I\    A    BOUDOIR 


FIREPLACE    IN    A   BEDROOM 


K.   S.   Lorimer,  A.R.S.A.,  Architect 


FOLDING    TEA-TABLE    IN    ITALIAN    WALNUT.    ADAPTED 
FROM   AN    OLD   DESIGN 


VlhW       IN      A      DLNING-ROO.M,      SHOWING      THE       STONE 
CHIMNEY-PIECE 


R.  S.  Lorimer,  A.R.S.A.,  Architect 


123 


TiiF.   Intrrtor  and  its  Furniture 


BOOKCASE    AXD    LAMPSTAND 

R.  S.  Lurimcr,  A.R.S.A.,  Architect 


IN    STRIPED    ITALIAN    WALNUT 


ROOM       IN      DANEWAV      HOUSE.      NEAR     CIRENCESTICR,     Wmi     I'l.ASTllRWOKK     AND     EURNIl  Ulvi:     DESIGNED     BY 

Ernest  W.  Ginison,  Cnitlsm;in 


124 


The   Interior  and  its   Furniture 


MAHOGANY   WASH-TABLE 


HAVING   A   GLASS   TOP 


DRESSING-TABLE 


IN    ENGLISH    OAK 


\\  Al.M  1     \\  AsHlXG-TAbLh 


\\  ITH  cA    GLASS    TOP 


Designed  by 

Edwin  L.   Lutvens    Architect 


125 


Thp:   Interior  and   its   Furniture 


Kl'SH-SEATliD  SliTTLE  IN  ASH,  THE  WOOD  STAINED  AXU  WAXED 


UrSH-sEATED  CHAIRS  IN   OAK  AM)  ASH.    IHI     \\(i(i|i  SIAIXhlJ  A.NH   \\ WED 


J  ^ 


Kl'SH  SlCAl  1.1)  Sldiil.    IN    \Sll     J    I- I      <<  IN.    l.i)N(,,    llll     Wool)   SIAINI  l>    AND   WAXED 

Designed   by 

Edwin   L.   Lulvfiis,  Arcluluct 


126 


The  IxTr^RioR  and  its   Furniture 


A    BEU.SUhA 


i:SLU    AS   A    BED 


A    BEU-SOFA 


Designed  by 

Charles  Spooner,  Architect 


USED   AS   A    SOFA 


WHSIOUKE 


HOVSE^r^LMONP^BVI^ 


HALL    IX     \    UnLSL     \T    ALMONDSBUKY,    IN    OAK    11 MBICRWOKK    AND    FAXKLLING,    THE    DIFFEKENCK    OF    FLOOR 
LEVEL   IS   AN    ADAPTATION    TO   THE    SLOPE   OF   THE    GROUND 


W.  H.  Bidlake,  M.A.,  Architect 


127 


The  Interior  and  its  Furniture 


yaf.fi.es.  hixdhead.  the  dining-room  reproduced  from  a  photograph 

Charles  Spooner,  Architect 


room     in     DAN'EWAY     house       near     CIRENCESTER,     WITH      PLASTERWOKK      AND      EURNITIIRE      DESIGNED      BY 

lirncsl   W.   Ginison,   C'laflsniaii 


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136 


Thf.   Ixtf.riok   and   its   Fi'kxiti-re 


\VKITIN=G    CABINKT  IN    ENGLISH    X'vALXLIT 

Sidney    H.    BarnsleN',   Craftsman 


i,AH1\J:T  in  ENGLISH  CEDAR  WITH  EBONY 
DOORS 

Sidney   H.   Barnslev,   Craftsman 


WALNUT     CHEST    OE     DRAWERS     INLAID     WITH: 
EBONV    AND    CHERRY 

Ernest   W.   Gimson,   Craftsman 


Some   Decorative  Essentials 


CARTOON    FOR     PART    OF    A    HALL    WINDOW    IN    STAINED    GLASS 

Designed  by 

Frank   Brangwyn,  A.R.A. 


Some   Decorative    Essentials 


By  John  Cash,  Architect 


T  is  true  to  say  that  the  hard-headed, 
matter-of-fact  person  is  of  opinion  that 
there  are  no  such  things  as  decorative 
essentials.  He  regards  it  as  a  waste  of 
time  to  attempt  to  beautify  that  which 
is  primarily  intended  to  be  useful — 
useful,  that  is  to  say,  in  the  ordinary 
sense  of  the  word.  For  him  the  dull  routine  of  existence  is  life, 
art  the  thin  shadow  of  a  misconception,  and  nothing  counts 
unless  it  can  be  valued  by  some  fixed  standard  of  "  the  open 
market."  Probably  the  truth  Ues  nearer  to  the  other  extreme,  and 
only  that  which  cannot  be  weighed  and  measured  is  of  real  worth. 
The  very  meanest  article  of  everyday  household  use  may  be  so 
shaped  that  its  value  goes  far  beyond  its  first  intention,  minis- 
tering to  a  human  need  that  calls  not  for  service  only  but  for 
society  also.  Just  as  the  lover  of  books  surrounds  himself  with 
permanent  and  steadfast  friends,  so  the  art  lover  also  may  find 
companionship  in  things  whose  appeal  to  another  side  of  his 
nature  is  just  as  real  and  as  true  and  worthy. 

But,  somehow  or  other,  artistic  adornment  has 
come  to  be  looked  upon  as  quite  separated  from  usefulness,  some- 
thing to  be  set  up  apart  and  isolated  from  utility,  something  to 
be  placed  in  a  convenient  position  where  it  may  be  looked  at 
when  there  is  nothing  else  to  be  done.  The  exact  opposite  should 
be  the  aim  of  all  who  set  about  the  furnishing  of  a  home.  Look 
at  the  old-fashioned  country  kitchen — the  really  old-fashioned 
kitchen  which  has  not  yet  been  invaded  by  the  stuffed  furniture 
of  ultra-respectabihty.  In  appearance  it  is  charming  because 
everything  within  it  is  part  of  the  lives  of  its  inhabitants,  with 
a  beauty  that  is  honest,  straightforward  and  simple.  The  high 
mantelshelf  is  not  crowded  with  mere  ornaments.  Those  brass 
candlesticks  are  there  not  because  they   are  bright,   they  are 


138 


TTie  Modern  Home 

polished  because  they  are  to  be  used  ;  that  tea-caddy  occupies 
the  place  of  honour  not  in  deference  to  its  pedigree,  but  because 
its  nearness  to  hearth  and  kettle  means  a  saving  of  time  and 
trouble  ;  and  the  big  broad  dresser  is  laden  with  the  crockery  of 
everyday  use  not  because  a  thousand  points  of  light  are  reflected 
from  its  glazed  and  coloured  surface,  but  because  it  must  be  near 
at  hand.  Everything  for  use,  and  that  is  reason  enough  for 
appropriate  enrichment.  Everything  to  endure  without  thought 
of  next  year's  fashions,  nor  of  the  vagaries  of  modern  manufac- 
turers ;  and  that  is  sufficient  reason  for  good  quality.  Let  us 
remember  also  that  a  beautiful  and  strong  thoroughness  in  work 
is  a  sure  test  of  a  nation's  greatness. 

How  far  we  have  got  from  this  idea  may  be  seen  in 
the  majority  of  modern  homes,  where  things  are  prized  because 
they  are  merely  useful  or  because  they  are  merely  ornamental. 
No  two  of  the  haphazard  lot  are  related,  and  for  the  greater  part 
they  are  quite  foreign  to  the  lives  of  beings  whom  fate  has  brought 
into  such  incongruous  companionship.  And  two  reasons  of  this 
may  be  found  in  the  multitude  of  machine-made  products  and 
a  restless  desire  for  vain  display.  Yet,  in  spite  of  the  almost 
convincing  logic  of  the  pessimist,  in  whose  view  even  despair  is 
beside  the  question  (since  nothing  matters),  the  outlook  becomes 
brighter,  and  many  a  week-end  cottage  indicates  progress  in  the 
truer  application  of  art  to  the  home.  How  charming  a  small 
country  house  may  be,  how  consistent  with  its  purpose  and 
internally  harmonious,  owing  nothing  to  the  merely  accumulative 
propensities  of  the  collector,  but  everything  to  fall  in  with  the 
owner's  desire  for  repose  and  for  freedom  from  conventionalities  ! 

The  walls  may  be  tinted  and  look  charming  or 
they  may  be  covered  with  paper  or  with  some  other  material 
that  falls  into  place  as  an  appropriate  background  for  the  con- 
tents of  the  room.  Wall-papers  must  be  chosen  always  with  an 
eye  to  their  main  purpose.  If  to  be  a  foil  for  pictures,  wall- 
hangings  should  be  of  plain  tints  or  very  nearly  so.  If  the 
pictures  are  not  important,  then  some  indulgence  in  patterning 
cannot  be  objected  to,  but  in  every  case  the  design  must  be  quite 


139 


Some    Decorative    Essentials 

in  reposCj  giving  no  impression  of  movement,  and  the  colours 
neither  many  nor  glaring.     If  when  we  enter  a  room  the  walls 
demand  first  attention,  we  may  be  sure  that  something  is  wrong. 
Yet  there  are  wall-papers  and  other  hangings  made  with  the 
richest  of  colour-effects  without  having  that  garish  self-assertive- 
ness  which  must  always  destroy  the  unity  of  purpose  in  any 
scheme  of  decoration.     With  a  self-coloured  paper  or  canvas  the 
possibihty  of  mistake  is  reduced  to  a  minimum,  while  in  the 
choice  of  a  patterned  paper  the  chance  of  error  is  increased  by 
the  number  of  tints  and  the  scale  of  the  design.     It  is  never  easy 
to  select  such  papers  from  a  small  pattern  book  and  to  be  certain 
of  the  result  when  the  walls  are  covered.     There  may  be  faulty 
lines  or  disagreeable  patches  of  colour,  and  these  things,  when 
seen  in  the  mass,  may  form  a  pattern  not  accounted  for  in  the 
sample  book. 

Manufacturers   now  publish   diagrams  of   some   of 
their  designs  which  show,  on  a  small  scale,  two  or  more  widths 
together  ;    in   this  way  the   pattern  is  clearly  seen.     Although 
these  diagrams  are  generally  in  black  and  white,  they  are  help- 
ful to  some  extent  if  studied  side  by  side  with  a  small  piece  of 
the  actual  coloured  paper.     Of  late  years  both  the  design  and  the 
colouring  of  wall-papers  have  been  improved,  and  only  care  is 
needed   in   the   choice   to   find   what   is   required   amongst   the 
thousands  of  examples  offered  ;    but  even  the  best  will  fail  to 
satisfy  if  the  selection  is  made  apart  from  the  consideration  of 
its  effect  on  the  whole  furnishing  of  the  room.     The  aim  must 
be  unity  and  balance,  a  total  effect  in  which  all  parts  must  be 
in  proper  relation,  and  each  part,  however  important,  subordinate 
to  the  whole.     It  is  a  blunder  to  suppose  that  any  wall-paper, 
however  fine  in  itself,  will  absorb  the  defects  and  harmonize  the 
differences  in  ill-assorted  or  ugly  furniture  ;    and  it  is  just   as 
great  a  mistake  to  suppose  that  good  furniture  and  pictures, 
and  all  the  other  essentials  of  a  room,  will  look  their  best  in  spite 
of  the  colour  of  the  walls.     If  the  fittings  be  heavy  of  form  and 
of  dark  colour,  then  the  walls  must  be  of  sober  hue,  rich  but 
subdued  in  colour,  no  glare   anywhere,  but  studied  effects  of 


140 


The  Modern  Home 

light  here  and  there  from  some  piece  of  pohshed  metal  or  pale 
statuette,  or  from  some  silvered  glass  in  heavy  gilt  or  dark  wood 
frame.  To  describe  such  a  room  is  to  arouse  all  the  antagonism 
of  the  modern  hygienist ;  to  live  in  it  is  to  feel  at  home, 
especially  when  the  day  is  done  and  the  shaded  hght  of  lamp 
or  candles  illuminates  a  well-set  and  well-garnished  table,  with 
the  shining  silver  and  the  shimmering  glass  and  potters'  ware. 
Sometimes  the  strong  hght  of  day  is  too  oppressive  and  ill  fits 
the  moment's  humour  ;  then  why  not  a  room  in  which  at  such 
times  one  can  find  rest  ?  But  we  are  more  modern  in  spirit, 
and  the  keynotes  must  be  lightness  and  brightness.  This  we 
seek  in  the  open  or  as  near  to  it  as  the  circumstances  and  big 
windows  will  permit.  We  ask  for  rosy  tints  and  elegance  of 
form,  cheerful  surroundings  befitting  and  begetting  a  lightsome 
mood,  furniture  which  can  be  moved  without  undue  exertion, 
chairs  which  invite,  and  all  other  things  in  keeping.  But  in  all 
a  true  alhance  of  beauty  and  purpose. 

And  these  things  cannot  be  beautiful  if  enriched 
with  any  ornament  that  conflicts  with  their  construction,  or 
with  any  colour  inappropriate  to  their  use,  Uke  those  tints  put 
into  wine  glasses  to  deUght  the  Phihstines  in  art,  who  forget 
that  the  transparent  beauty  of  glass  needs  but  the  colouring  of 
wines  and  of  other  hquids. 

Table  glass,  if  coloured  at  all,  should  be  of  the 
palest  possible  tints ;  but  why  not  have  trust  in  the  pure 
crystalline  quaUty  of  the  glass,  leaving  the  decoration  a  matter 
wholly  of  shape  and  surface  ?  When  properly  wrought,  the 
material  gives  full  value  for  all  the  care  bestowed  upon  it  both 
in  delicacy  of  tone  and  in  elegance  of  form.  Excellent  examples 
were  published  in  The  British  Home  of  To-day,  admirably  illus- 
trating the  possibihties  of  glass  by  several  different  methods  of 
treatment,  some  modern,  some  old  and  very  beautiful  even  as 
shown  by  photography,  which  unfortunately  fails  to  render  all 
the  subtle  grace  of  this  delightful  branch  of  art,  and  yet  gives 
enough  of  its  beauty  to  make  one  for  ever  renounce  the  crude 
reds  and  blues  and  greens  of  so  many  tables. 


141 


Some    Decorative    Essentials 

Pottery,  in  its  relation  to  the  ordinary  articles  of 
table  use,  is  no  less  interesting  than  glass  from  the  decorative 
point  of  view,  and  it  is  difficult  to  understand  why  it  should 
have  been  so  neglected  by  the  artist.  Is  there  any  real  need 
for  that  appallingly  exact  machine-made  finish  ?  Is  it  more 
useful  or  better  in  any  way  for  its  hard  unsympathetic  glaze, 
and  its  awful  precision  of  shape  and  surface  ?  There  may  be 
manufacturers'  reasons,  commercial  reasons,  but  not  utilitarian 
or  artistic.  Or  is  it  that  mere  crockery  is  too  commonplace  for 
the  living-room,  and  therefore  must  be  banished  in  disgrace  to 
the  kitchen  and  the  cupboard  ?  But  the  reason  hardly  concerns 
us  ;  what  matters  is  that  there  shall  be  a  growing  desire  for 
improvement  and  that  our  artist  potters  shall  give  more  atten- 
tion to  cups  and  saucers.  What  a  wide  and  good  field  for  his 
best  efforts  !  Let  him  put  aside  for  a  time  those  pretty  pieces 
of  showcase  ware,  those  vases  and  little  knick-knacks  of  the  col- 
lector, and  let  him  strive  to  make  useful  things  more  beautiful. 
The  be-all  and  end-all  of  skilled  work  cannot  be  mere  ornament. 
The  first  purpose  of  a  vessel  turned  upon  the  wheel  is  to  hold 
something,  to  be  of  use  in  some  practical  way  and  not  be  at 
variance  with  beauty.  Far  too  much  artistic  work  is  done  for 
the  collector,  far  too  little  for  the  ordinary  mortal  who  would 
have  the  things  he  uses  made  more  interesting.  Nor  need  this 
mean  that  the  potter  is  for  all  time  restricted  to  the  adornment 
of  table-ware.  While  the  sculptor  works  in  marble  or  in  metal, 
the  potter  may  suitably  model  his  own  plastic  material  into 
bas-reliefs  and  statuettes  with  the  additional  and  appropriate 
charm  of  colour  and  glaze,  using  modern  subjects  in  a  modern 
manner,  free  from  the  restraining  influence  of  dead  hands,  that 
thwarts  so  much  that  is  noble  in  the  aspirations  of  the  living. 

The  renaissance  of  Needlework  is  a  welcome  sign 
if  but  that  it  is  once  more  a  comprehensive  field  for  woman's 
work.  At  many  of  our  recent  exhibitions  beautiful  examples  of 
embroidery  and  other  products  of  deft  fingers  and  able  designers 
have  shown  a  remarkably  high  standard  of  excellence.  It  is  in- 
deed a  forward  movement   from   the  crazy-quilts  of   our  grand- 


142 


The  Modern  Home 

mothers,  and  the  wool-work  of  a  later  day,  to  the  modern  use  of 
fabric  and  of  needle  and  thread.  The  materials,  with  all  their 
limitations,  so  readily  lend  themselves  to  the  simplest  effects  of 
geometrical  combination  or  to  the  most  elaborate  maze  of  design  ; 
they  justify  a  freedom  of  treatment  in  natural  forms  that  does 
not  aim  at  pictorial  representation  ;  and  they  are  often  at  ease 
even  within  the  restraints  of  conventional  designs. 

Stained  glass  is  a  very  comprehensive  title  to  most 
people,  if  not  to  the  glass  stainer  himself.  It  ranges  from  the 
flattest  and  most  uninteresting  of  tinted  squares  to  the  largest 
and  most  elaborate  of  cathedi-al  windows  ;  all  are  mistakenly 
classed  under  the  same  heading.  Unfortunately  it  is  a  subject 
difficult  of  illustration  by  any  known  process.  Mere  black  and 
white  is  quite  inadequate,  and  even  with  colour-printing  both 
scale  and  transparency  are  lost,  and  transparency  is  perhaps  its 
most  essential  quahty.  The  play  of  light  within  the  thick  glass 
and  the  varied  richness  of  the  colour  effects  are  in  themselves 
delightful,  but  when  framed  in  a  suitable  fretwork  of  thick  lead 
lines,  designed  by  one  who  understands  his  craft,  stained  glass  is 
a  decorative  essential  of  the  highest  order — useful  enough  too, 
for  it  may  shut  out  a  distasteful  view  and  its  beauty  be  still  an 
attraction. 

The  Mirror  is  another  decorative  essential  which 
has  been  much  misunderstood  and  misused.  It  had  its  vogue  at 
a  time  when  the  making  of  huge  sheets  of  plate  glass  became 
possible  owing  to  improved  methods  of  manufacture.  Some  of 
the  old  mirrors  are  excellent  and  beyond  praise  ;  they  are  much 
sought  after  for  their  decorative  effect.  Without  going  back  or 
slavishly  copying  we  may  take  up  the  idea  and  clothe  it  in  modern 
artistic  shape.  But  the  glass  must  not  be  large,  a  great  flat 
surface  in  which  is  reflected  a  large  portion  of  a  room  must  be 
unrestful  and  offensive.  Such  a  glass  is  well  enough  for  toilet 
purposes,  of  course,  but  its  decorative  value  decreases  when 
frame  and  mirror  are  not  suitably  proportioned  one  to  the  other. 
Frames  may  be  either  of  wood,  gilded,  polished,  or  painted,  or 
else  of  metal ;  simple  or  elaborate  as  best  befits  the  purpose  of 
the  mirror. 


1 4c 


Some    Decorative    Essentials 

Metalwork  demands  a  few  words,  but  its  many  uses 
in  the  home  are  well  known,  and  its  decorative  possibilities  not 
likely  to  be  overlooked.  Silver  and  copper  and  iron  all  lend 
themselves  readily  to  any  process  of  hammering,  whilst  brass  and 
lead  may  be  cast  and  otherwise  manipulated.  So  wide  in  range 
is  the  usefulness  of  metal,  and  so  adaptable,  that  in  one  kind  or 
another  it  takes  a  fitting  shape  to  any  scale  from  the  great  gates 
and  grilles  of  iron  down  to  the  tiniest  bit  of  gold  or  silver  orna- 
ment. With  enamel  lending  its  glorious  effects  of  colour,  metal 
must  be  a  source  of  endless  joy  to  the  skilled  craftsman  and  the 
connoisseur. 

Sculpture,  too,  both  great  and  small,  from  the 
public  monument  to  the  little  statuette,  is  now  receiving  a  fair 
amount  of  attention,  although  still  suffering  undeserved  neglect. 
It  may  be  that  the  worker  himself  has  been  too  exclusive  in  his 
aims  in  preferring  the  heroic  to  the  homely.  What  is  wanted 
for  the  small  home  is  small  sculpture,  a  figure  or  group  of  figures 
representing  some  simple  idea  not  too  far-fetched,  nor  yet  too 
classical.  We  are  many  of  us  somewhat  tired  of  the  eternal  pagan 
and  his  myths.  We  long  for  that  which  comes  nearer  to  hearth 
and  home.  Modern  aspirations  and  ideals  are  worthy  subjects, 
and  the  workers  on  sea  and  land  have  a  story  to  tell  fit  for  trans- 
lation into  stone  or  bronze.  But  it  must  be  told  in  a  brief  chapter 
and  to  a  scale  suitable  to  our  houses.  Something  has  been  done 
already  in  this  direction,  but  there  is  room  for  more,  and  when- 
ever the  sculptor  publishes  his  work  in  what  may  be  called 
"  limited  editions,"  his  public  is  ready.  Among  other  things  the 
leaden  garden  statue  is  admirable  and  its  duplication  easy. 
In  this  soft  metal  the  refinements  possible  in  bronze  are  out  of 
the  question,  but  lead  is  still  worthy  of  the  artist's  best  efforts. 
Many  an  old  Enghsh  garden  has  dehghtful  examples  of  cast  lead, 
quaint  figures,  fountains,  tanks,  urns,  and  a  host  of  other  applica- 
tions of  its  decorative  usefulness.  And  that  it  may  be  revived  is 
a  hope  which  is  beginning  to  be  realized  by  present-day  craftsmen  1 

Garden  furniture  and  decorative  essentials  include 
so  many  things  in  wood  and  in  stone,  in  iron  and  lead  and  bronze, 


144 


The  Modern  Home 

that  it  is  quite  impossible  here  to  deal  with  more  than  a  few. 
How  pleasantly  attractive  is  a  well-shaped,  comfortable  garden- 
seat,  sturdy,  of   simple   lines,    and   roomy  enough  to  tempt  the 
tired  to  rest  awhile.     In  oak  or  in  painted  deal,  in  construction 
direct  and  with  foreknowledge  of  its  exposure  to  the  weather, 
its  proper  artistic  treatment  follows  as  a  matter  of  course,  for  its 
purpose  is   no  less  clearly  defined  than  that  of  any  piece  of  fur- 
niture inside  the  house,  and  that  purpose  will  be  kept  in  view  in 
the  whole  process  of  its  evolution.     Lightness  and  elegance  in 
the  dwelling-rooms  if    you    will,    but    strength  and    stern   sim- 
plicity in  the  garden.     Another  feature  of  garden  architecture — 
the  open  trellis  of  painted  wood — scarce  receives  the  attention 
which  its  decorative  merits  deserve.     Its  possibilities  are  greater 
than  the  simple  nature  of  its  materials  suggests,  and  although 
it  is  occasionally  adopted  where  a  division  is  required,  there  are 
many  occasions  when  something  quite  inferior  from  a  decorative 
point  of  view  is  used  instead.     The  real  charm  of  a  garden  is  not 
ended  when  the  gardener  has  finished  his  task  ;    to  get  it  in  full 
the  grounds  must  be  linked  up  to  the  house  by  the  handiwork  of 
the  artist  and  the  craftsman,  the  whole  in  one  embracing  scheme, 
one  purpose  shown  throughout,  and  every  detail  faUing  into  place 
in  the  total  effect  and  none  striving  for  mastery. 

JOHN   CASH 


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146 


Some    Detorative    Essentials 


MATERNITY 


THE    PHOTOGRAPH    BY    AUGUSTUS    LITTLETON.    ESQ.  .MARBLE    ST.\TUETTE 


George   Frampton,   R.A.,   Sculptor 


147 


SoMF.    Decorative    Essentials 


l.OVK-S   COKONI/r.    A    STATlllCTTl-:    IN'    HUONZl':    AND    OXIIMZICD    SILVER    WITH    I'l.AKI,    IM,A\.     1111;    I'l.IU-STAI. 
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HICNDERSON 


W.    Kcxnolds-Stephens,   Sculptor 


148 


SoMi-:   Decorativf.   Rsshntiai.'^ 


STATUETTE 


Gilbert   Baves,   Sculptor 


BRACKET     I- OR      ELECTRIC;    LIGHT      IN      BROXZK      AMI 
MOTHER-OF-HKARL 

Alexander  Fisher,  Sculptor 


Some   Decokati\  i'.   Essential^. 


A    liKON/.K    MIKKdK    Willi    A    MKIAl,    KKl- I.Ki '  loK. 

AlcxaiuIiT    I'ishcr,    SculpUir. 


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JAM    DISH    IN    SIl.M.K 


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MISSION   OF    MESSRS.    MORRIS    &    CO. 

Designed  by 

The   Late  William   Morris 


THE         OAK     AND     ASH  '       WALL-PAPER,     MADE     BY     JEFFREY     &    CO. 
Designed  In" 

Hevwood    Sumner 


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HRINTKD      COTTON,      THIi      TULIP      HAIl  KK\,      MAUI.      HV 
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Geoi't^e  A.   Cranlcw   Architect 
I'".    I  )lt\V(_iH.    Wood.    Srul[)lor 


158 


Some    Decorative    Essentials 


SKKTCH  MODEL  FOR  A  GARDEN  STATUE 


SKETCH  MODEL  FOR  A  CAKUEN  STATLK 


[Copyright  Reserved) 

F.  Deiwent  Wood,  Sculptor 


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IN   OAK 


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Edwin    L.    Eutvens,    Architect 


Sanitation 

By  John  Cash,  Architect 


~^HE  purpose  of  these  notes  is  to  give  a  few  general 
hints  upon  a  subject  which  of  late  years  has  come 
very  much  to  the  fore,  although  it  is  perhaps 
the  least  attractive  department  of  house  build- 
ing.     Books  about  drainage  are  for  the  most 
part  of  a  highly  technical  kind,  written  by  men 
who  have  made  a  special  study  of  theory  for 
others  who  are  engaged  in  the  practical  working  out  of  definite 
schemes.     The  abstract  principles  of  the  science  are  simple  and 
easily  understood,  and  the  details  many  and  compUcated,  but 
not  beyond  the   understanding    of    ordinary    common-sense.     A 
little  knowledge   of   drains  may  be   dangerous,   but   that  little, 
properly  used,  is  better  than  none.     At  all  events  it  is  well  that 
the  person  who  intends  building  should  be  able  to  give  such  general 
instructions  with  reference  to  drainage  and  sanitary  fittings  as 
shall  tend  to  prevent  misunderstandings  and  consequent  cost  and 
disappointment . 

The  vast  amount  of  information  on  the  decorative 
treatment  of  the  home  published  and  read  during  the  past  few 
years  seems  to  indicate  a  demand  for  a  more  intimate  knowledge 
of  the  whole  question  of  house  building,  and  the  mystery  of 
sanitary  science  is  not  so  great  that  even  the  most  timid  mind 
need  shrink  from  it.  A  few  leading  principles  to  be  learnt  and 
some  intelligent  observation  of  facts  will  sufficiently  equip  the 
layman  with  such  general  knowledge  as  he  is  ever  Ukely  to  be 
in  a  position  to  employ. 

Let  us  consider  in  a  few  general  terms  the  methods 
of  the  disposal  of  sewage  matter  after  it  has  been  carried  from 
the  house  through  underground  pipes.  There  is  the  old-fashioned 
cesspool ;  then  its  modern  development,  the  highly  scientific  bac- 
teriological treatment,  with  its  anaerobic  and  aerobic  variations ; 


l62 


The  Modern  Home 

and  last  the  public  sewer,  which,  to  dwellers  in  town  at  least,  is 
the  best-known  of  the  three.  We  need  consider  only  the  first  two, 
for  the  third,  the  public  sewer,  gives  the  householder  no  further 
concern  after  the  drains  of  his  home  have  been  connected  with 
it,  except,  of  course,  the  periodical  call  of  the  rate  collector.  It 
should  be  pointed  out  that  this  is  the  cheaper  and  better  method  ; 
but  unfortunately  in  rural  districts  it  is  not  always  available, 
and  many  small  homes  must  still  be  built  where  there  is  no  public 
sewer.  The  bacteriological  treatment  is  not  hkely  to  be  em- 
ployed, except  in  connection  with  larger  houses,  because  of  its 
first  cost,  even  should  the  site  be  of  sufficient  area  to  make  it 
possible  in  other  respects.  But  for  houses  costing  two  thousand 
pounds  or  more,  where  the  site  is  of  sufficient  area  to  allow  of  the 
apparatus  being  placed  far  enough  away  from  the  buildings, 
and  where  the  land  slopes  in  the  right  direction,  this  method 
has  many  advantages  over  the  cesspool.  Should  the  ground  be 
nearly  level  it  will  be  found  almost  impracticable,  and  should  the 
site  be  so  small  that  the  tanks  cannot  be  placed  at  least  thirty 
or  forty  yards  from  the  house,  the  result  may  be  offensive  to  the 
nostrils  and  injurious  to  health.  If  it  is  decided  to  adopt  the 
bacteriological  system  it  must  be  borne  in  mind  that  there  are 
royalties  to  be  paid  unless  the  patentees  are  employed  to  carry 
out  the  work.  There  are  two  distinct  methods  of  bacteriological 
treatment,  but  a  few  words  of  general  description  will  serve  to 
indicate  the  principle.  Tanks  of  brick  or  concrete  are  built  in  a 
convenient  position — on  a  hill  side  is  best.  The  crude  sewage 
is  carried  by  the  drain  to  these  tanks  where  it  is  attacked  by  the 
bacteria,  the  solids  being  decomposed  into  liquid  and  the  whole 
subjected  to  a  treatment  of  filtration  through  broken  coke  or  other 
suitable  material.  According  to  the  degree  of  purity  required  in 
the  effluent  the  filtering  tanks  will  be  increased  in  number.  Two 
at  least  are  necessary,  and  more  will  be  an  advantage,  for  the 
bacteria,  although  at  work  in  the  filters  all  the  time,  can  deal  with 
only  a  limited  amount  of  matter.  It  is  also  important  that  the 
filters  should  work  alternately,  one  being  at  rest  while  the  other 
is  in  use.      Once  set  in  motion  the  system  is  practically  auto- 


i63 


Sanitation 


77Zsy2^oh. 


^1 


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B 


and  iv/2ltlslor. 
St/i/c  HVsfe  ^(^. 


lit 


MOTH,  lo  avoccf  co^i/3con  i/ie  rac/2  tuaicr  <£rains 
are  noijkonn.  la  acicrdt  rnirk  iheymi^it 
bet<ikef2  1/3/0  i/sa  i^anioiei  chcCtcafec^or- 
tnfo  a  se^drnie  sysiem  as  regi/cre<^Ay 


JOHN    CASH,    ARCHITECT. 


164 


The    Modern    Home 

matic,  beyond  the  need  for  a  periodical  change  of  the  filtering 
materials.  The  ultimate  disposal  of  the  effluent  will  depend  en- 
tirely on  local  circumstances.  It  may  be  possible  to  spread  it  over 
the  land  or  to  discharge  it  into  a  brook,  but  this  difficulty  is  one 
which  will  arise  with  any  system  except  that  of  the  pubhc  sewer. 

The  cesspool  is  the  old-fashioned  way  of  attacking 
the  sewage  problem.  In  the  past,  before  the  days  of  many 
baths,  it  was  good  enough  in  most  cases,  and  was  then  built 
underground  of  rough  brick  or  stonework,  oftener  than  not  with 
no  cementing  material  in  the  joints,  and  without  any  bottom 
other  than  the  natural  earth,  so  that  in  loose  soil  the  water  ran 
away  quite  freely,  and  generally  into  the  wells  of  the  neighbour- 
hood, leaving  only  the  solid  matter  behind  in  the  cesspool  to 
be  dealt  with  by  the  microbes.  It  was  quite  possible  for  the 
cesspool,  although  never  emptied,  to  continue  to  do  its  work,  and 
this  fact  mystified  our  forefathers,  but  gave  to  the  modern  sani- 
tary expert  the  clue  to  the  bacteriological  treatment.  To-day, 
even  had  we  no  respect  for  the  purity  of  our  wells,  the  local  author- 
ities insist  upon  the  cesspool  being  made  quite  watertight.  It 
must  have  a  lining  of  some  impervious  material  such  as  asphalt 
or  Portland  cement,  and  now  the  local  Bye-Laws  prohibit  the 
taking  of  the  overflow  pipe  into  any  public  watercourse  ;  it  there- 
fore follows  that  the  cesspool  will  require  to  be  emptied  oftener 
in  proportion  to  the  amount  of  water  discharged  into  it.  In  some 
places  the  clearing  out  of  the  cesspool  is  undertaken  by  the  local 
authority,  but  in  other  localities  it  devolves  upon  the  owner  to 
do  the  best  he  can  by  making  a  payment  to  an  outsider  or  by 
employing  his  gardener  to  do  the  work.  Whichever  of  the  three 
systems  of  disposal  is  adopted,  the  remainder  of  the  sanitary 
work  will  be  the  same. 

At  the  outset  it  must  be  remembered  that  the  best 
designed  scheme  will  be  spoiled  if  bad  materials  and  inferior 
workmanship  are  employed  ;  the  best  of  both  must  be  insisted 
upon,  and  can  be  obtained  if  their  price  be  paid.  Workmen, 
with  few  exceptions,  prefer  to  do  good  work  ;  and,  with  fewer 
exceptions,  they  vnW  not  do  it  for  bad  pay.     If  there  must  be 


i6; 


Sanitation 

any  cutting  down  of  cost,  let  it  be  exercised  where  defects  will 
be  under  observation  and  where  repairs  will  not  be  so  costly. 

Sanitarians  are  now  all  agreed  upon  the  two  leading 
principles  ;  first,  the  greatest  possible  amount  of  ventilation  in 
order  that  there  may  be  the  least  possible  accumulation  of  foul 
air  in  the  pipes  ;.  and  second,  the  exclusion  of  drain  air  or  sewer 
gas  from  the  house.  Ventilation  is  secured  by  having  not  less 
than  two  untrapped  openings  to  every  line  of  pipes,  whether 
above  or  below  ground,  except  to  very  short  branches  ;  and 
sewer  gas  and  foul  air  are  excluded  by  means  of  "  traps."  A 
trap  is  simply  a  bend  or  dip  in  the  pipe,  formed  in  such  a  way  that 
enough  water  is  retained  by  it  to  fill  up  the  bore  of  the  pipe  and 
so  prevent  the  passage  of  air  under  ordinary  pressure  ;  but  in 
case  of  insufhcient  ventilation  sewer  gas  will  accumulate  and 
force  its  way  through  the  water.  In  fact  traps  are  only  a  second 
line  of  defence  and  not  a  substitute  for  thorough  aeration.  When 
these  two  principles — ventilation  and  trapping — are  understood 
the  theory  of  sanitation,  so  far  as  it  concerns  the  average  man, 
is  robbed  of  its  mystery ;  the  rest  is  to  put  principles  into  practice 
in  the  most  convenient  way.  In  this  there  are  of  course  many 
difficulties  of  detail,  but  a  knowledge  of  reasons  will  give  zest  to 
the  practical  working  out  of  theory.  It  follows  quite  naturally 
that  the  lines  of  pipes  must  be  straight  to  get  the  most  efficient 
ventilation  ;  therefore,  when  a  change  of  direction  must  be  made 
sharp  angles  should  be  avoided.  When  this  is  attended  to  there 
will  also  be  less  fear  of  stoppage.  Where  traps  are  used  they 
must  be  as  close  to  the  internal  fittings  as  possible,  so  that  there 
shall  be  but  little  open  pipe  within  the  house.  The  pipes  for 
underground  drains  may  be  either  of  earthenware  or  of  iron. 
If  of  earthenware,  they  must  be  glazed  both  inside  and  outside, 
and  if  of  iron,  treated  with  Dr.  Angus  Smith's  process  for  the 
prevention  of  rust.  Iron  pipes  are  now  being  largely  used  in  the 
better  class  of  work  for  all  underground  drains,  and  wherever  the 
drain  passes  under  the  house  iron  pipes  should  be  insisted  upon, 
for  they  are  less  likely  to  break  and  the  joints  are  stronger,  these 
being  filled  with  molten  lead  which  is  hammered  hard  when  cold. 


i66 


The    Modern    Home 

Earthenware  pipes  are  usually  in  lengths  of  two 
feet,  and  the  joints — in  the  ordinary  kind — are  filled  with  Port- 
land cement.  They  should  always  be  laid  on  a  bed  of  cement 
concrete,  six  inches  thick  at  least,  and  where  near  the  surface 
of  the  ground,  or  under  buildings,  if  they  must  be  used  there, 
they  should  be  encased  in  concrete  six  inches  thick  all  round. 
Earthenware  pipes  are  very  carefully  made  by  the  leading  manu- 
facturers, with  a  true  bore  and  perfectly  straight.  At  shght 
extra  cost  they  may  be  obtained  marked  "  tested,"  which  is  a 
guarantee  by  the  makers  that  every  pipe  has  been  subjected 
to  a  much  greater  strain  than  it  will  be  called  upon  to  bear  in 
ordinary  use.  Earthenware  pipes  are  now  manufactured  with 
a  great  variety  of  patent  joints  ;  in  some  the  ends  are  Uned  where 
they  fit  into  each  other  with  a  kind  of  asphalt,  and  when  in 
position  in  the  trench,  the  joints  are  made  watertight  by  means 
of  a  specially  prepared  solution.  These  are  more  flexible  than 
cemented  joints  and  less  liable  to  snap  through  any  shght  sinking 
of  the  ground. 

Underground  pipes  are  laid  with  a  downward 
inclination  towards  the  cesspool  or  sewer,  and  this  incUnation, 
called  "  the  fall,"  can  hardly  be  too  great  if  it  is  regular  through- 
out its  length.  In  no  case  should  the  fall  be  less  than  one  foot 
in  each  forty  feet  of  the  length  of  the  pipes.  Where  the  ground 
slopes  naturally  in  the  direction  of  the  outfall  the  trench  need 
not  be  deep,  and  this  is  a  matter  of  some  importance  in  the  case 
of  a  cesspool  being  used,  both  because  of  first  cost  and  of  increased 
pumping. 

Manholes  must  be  built  at  convenient  points,  to 
render  easy  the  work  of  inspection,  cleaning  and  testing.  The 
bottom  of  each  manhole  should  be  formed  with  concrete  at  the 
same  time  that  the  concrete  is  put  into  the  trench  to  receive  the 
pipes.  Instead  of  complete  pipes  being  taken  through  these 
manholes,  half-pipes,  or  channels  as  they  are  called,  will  be  laid 
on  the  concrete  bottom,  one  running  through  to  take  the  main 
line  of  drain,  and  others  of  curved  shape  joining  it  to  connect 
the  branch  drains.     When   laid  correctly   the   channels  will  be 


i6z 


Sanitation 

held  in  position  by  having  cement  concrete  packed  into  the  spaces 
between,  and  this  concrete  will  be  banked  up  higher  than  the 
sides  of  the  channels  and  sloped  towards  them  so  that  in  case  of 
temporary   overflow   from   the   channels   they   shall   not   retain 
any  solid    matter.      From  one  manhole  to  another  the  hne  of 
drain  pipes  must  be  perfectly  straight,  so  that  in  the  event  of 
stoppage  a  rod  may  be  pushed  through  to  clear  away  the  obstruc- 
tion     All  the  manholes  will  be  alike  in  most  respects,  the  walls 
being  of  brickwork  hned  with  cement  made  quite  smooth,  and 
the  top  covered  with  an  iron  hd  at  the  surface  of  the  ground. 
But  the  manhole  nearest  to  the  public  sewer  or  cesspool  differs 
in  some  respects.     In  order  that  sewer  gas  may  not  enter  the 
drains,  a  trap  commonly  known  as  a  "  Disconnector  "  is  placed 
between  the  channel  in  the  manhole  and  the  drain  outside.    This 
disconnector  is  an  old  institution-as  age  is  counted  in  samtary 
science-but  there  are  ardent   reformers  who  would  deprive  it 
of   its  honoured  position  and  rob  it  of  an  acquired  reputation, 
telling  us  that  its  pretentions  are  greater  than  its  usefulness,  and 
that  the  good  it  might  accomplish  in  rare  intervals  of  working 
order  is  much  less  than  the  evil  it  actually  does.     Without  taking 
sides  with  either  the   advocates  of   "  Disconnectors "   or  their 
opponents  in  this  keen  dispute,  it  must  be  admitted  that  a  very 
large  percentage  of  the  stoppages  in  drains  is  at  this  point.     Also 
it  should  be  remembered  that  officiahsm  is  for  the  present  over- 
whelmingly with  the  "  Disconnectors  "  ;  local  bye-laws  for  the  most 
part  making  it  necessary.    There  can  be  no  doubt  that,  if  the 
cesspool  or  the  public  sewer  be  properly  ventilated,  as  it  should 
be  this  trap  might  be  omitted  with  advantage,  but  until  the  time 
comes  when  the  Bye-Laws  will  allow  its  omission  all  that  can 
be  done  is  to  select  a  trap  which  shall  have  the  least  number  of 
faults      If  it   does  sometimes  cause  a  stoppage,  it  also  keeps 
back  the  noxious  gases  by  way  of  compensation. 

The  manhole  in  question  will  also  be  the  place  for 
the  admission  of  fresh  air  for  the  ventilation  of  the  drains.  If 
it  is  well  away  from  the  house,  in  a  place  where  an  occasional 
puff  of  foul  air  does  not  matter,  an  iron  grid  raised  a  few  inches 


1 68 


The    Modern    Home 

above  the  ground  surface  will  suffice.  But  should  the  inlet  be 
necessarily  near  the  house,  an  upright  galvanized  iron  pipe  about 
two  or  three  feet  high  should  be  used,  and  on  the  top  of  this  pipe 
there  should  be  a  head  fitted  with  a  grating  and  mica  flap  to  act 
as  a  valve  to  prevent  outward  puffs  of  foul  air.  This  iron  pipe 
should  be  at  least  4  inches  in  diameter,  fixed  to  a  wall  or  fence, 
and  connected  to  an  underground  pipe  of  earthenware  or  iron, 
as  the  case  may  be,  entering  the  manhole  through  one  of  its 
sides  and  also  near  the  top. 

In  a  large  system  of  drains  there  may  be  many 
manholes,  but  in  the  smallest  system  there  should  be  at  least 
two,  the  one  just  described,  and  another  at  the  head  of  the  drain 
or  at  some  point  convenient  for  taking  in  the  branches — as  near 
the  head  of  the  drain  as  possible — and  in  such  a  position  that  a 
rod  can  be  pushed  through  the  pipes  from  it  to  the  end.  Should 
there  be  need  for  an  intermediate  manhole,  it  should  be  placed 
conveniently  for  taking  in  branches  to  avoid  the  joining  of  pipes 
to  pipes  where  the  junction  cannot  be  got  at.  In  the  best  plan 
all  junctions  will  be  in  manholes.  Where  the  drain  has  to  be 
taken  round  a  corner  a  manhole  must  be  built  at  the  corner,  even 
if  there  are  no  branches,  to  facilitate  clearing  should  there  be  a 
stoppage. 

The  manner  in  which  fresh  air  is  admitted  to  the 
drains  has  already  been  described  in  connexion  with  the  lower 
manhole.  But  without  means  of  extract  the  inlet  pipe  would 
be  of  very  little  use,  therefore  an  outlet  must  be  provided  at 
the  upper  end  of  the  underground  drains.  Should  there  be  a 
w.c.  above  the  ground  at  this  point,  the  soil  pipe  from  it  will 
serve  the  double  purpose  of  conveying  the  discharge  from  the 
closet  and  extracting  air  from  the  drains.  It  should  be  of  lead 
or  of  strong  cast-iron,  with  a  bore  of  three  and  a  half  or  four  inches, 
connected  with  the  underground  drains  at  the  bottom  and  carried 
upwards  above  the  eaves  of  the  roof  and  higher  than  any.  window 
near  it.  Perhaps  the  best  place  to  terminate  the  soil  pipe  is 
on  a  chimney  stack  and  about  two  feet  below  the  top  of  the  flues, 
for  if  taken  quite  up  to  the  chimney  pots  foiil  air  may  be  drawn 


i69 


Sanitation 


/^ 


I 


"Ji^ 


/\/b7Z.  These  (£(ai>r<z/:73  are  /o  t//uj/ra^  vfi^  /ie 


^r 


■Ceme/2^  &/tt/2j>  - 


Cemer2(^ 


^ 


W^ 


Cement-^ 


Concrete  3o(/om 


CCTflON  AH. 


I 


T'"^ 


i: 


-.  3ECTI0N  CIO). 


.i^-Vfi     iiij 


r— H;?f 


It ii^Oi// 


••^^r--'  ^-fLAN®F MANHOLE-^ 


/nstJe  of ii!i2nick 


lead  //vjiiv  laeaC 
Jar  SaiA./aioUf^' 


iwfimmim.       cully  tiraif. 

-Conf2eciu>fi  Jor 
Jlusitnp  ptfie 


fo  dra*a. 


Sr/T/Dre^cJeufiMfe^ 


^  iore. 

w    ■■■ 


J^TALW.C.IfAN. 


JUfi/ijfi. 


VALVE  W.  C .  AFPAK ATUS. 


JOHN    CASH,    ARCHITECT 


I/O 


The    Modern    Home 

into  the  house  when  the  fire  is  not  going.  The  top  of  the  soil 
pipe  will  be  open,  except  for  a  spherical  cover  of  copper  wire  to 
keep  out  birds  and  dead  leaves.  Should  there  be  other  upstairs 
water-closets  or  a  housemaid's  slop  sink — which  is  always  treated 
as  a  water-closet — between  the  higher  and  lower  ends  of  the 
drain  there  must  be  another  soil  pipe,  and  it  will  be  finished  at 
the  top  in  the  same  way  to  act  as  an  additional  extract  ventilator. 
Should  there  be  no  upstairs  water-closet  at  the  head  of  the  drains 
a  pipe  of  the  same  kind  must  be  provided  to  act  as  a  ventilator. 
Therefore,  however  small  the  system  of  drains  may  be,  there 
will  be  at  least  two  untrapped  openings,  one  for  the  admission 
of  fresh  air  at  the  lower  end,  and  one  for  the  extraction  of  foul 
air  at  the  higher  end.  Bye-Laws  allow  of  the  positions  of  inlet 
and  outlet  being  reversed  in  some  cases,  but  in  practice  this 
is  rarely  necessary. 

All  other  openings  into  drains  will  be  trapped  at 
some  point  outside  the  house  by  means  of  gullies,  the  purpose 
of  the  trap  being  to  prevent  the  escape  of  air  from  the  drains 
at  undesirable  places. 

When  a  good  fall  cannot  be  given  to  the  under- 
ground drains,  it  is  advisable  to  provide  some  means  of  sending 
through  them  at  intervals  a  good  rush  of  water  to  remove  any 
solid  matter  left  behind  by  the  ordinary  discharge.  For  this 
purpose  a  Flushing  Tank  should  be  fixed  as  near  as  possible 
to  the  head  of  the  drains.  This  tank  is  filled  either  from  a  tap 
specially  provided  and  adjusted  to  allow  of  a  constant  trickle 
of  water,  or  from  the  waste  water  of  a  bath  or  other  fitting.  Its 
action  is  syphonic  and  automatic,  so  that  when  the  water  has 
reached  a  certain  level  within  it  the  discharge  takes  place  suddenly 
through  a  large  pipe  with  a  force  great  enough  to  clear  away 
any  ordinary  obstruction.  The  tank  should  hold  twenty  or 
thirty  gallons,  and  if  filled  with  fresh  water  the  tap  should  be 
so  regulated  that  it  will  be  filled  at  least  twice  a  day.  If  the 
source  of  supply  is  a  waste  pipe  the  number  of  flushes  will  depend 
upon  the  quantity  of  water  discharged  down  the  waste. 

The  testing  of  underground  drains  is  simple  enough 


I/I 


Sanitation 

in  theory,  for  it  only  demands  that  when  filled  with  water  they 
shall  retain  it  all  until  the  stopper  is  removed.     If  the  site  is 
fairly  level  and  the  system  of  drains  not  very  large,  it  may  be 
possible  to  test  the  whole  in  one  operation  ;    in  other  cases  it 
will  probably  be  necessary  to  test  in  sections.     The  drain  should 
be  plugged  where  it  enters  the  manhole  at  the  lower  end,  or  at 
some  intermediate  manhole  if  the  testing  has  to  be  by  sections  ; 
for  this  purpose  a  special  stopper  is  used  with  metal  disks  and 
rubber  ring.     At  some  point  above  the  stopper  the  section  of 
drain  under  examination  will  be  filled  with  water.     Should  there 
be  branches  running  into  the  main  hue  of  this  section,  with  trapped 
gullies  at  the  ends,  the  air  will  be  imprisoned  in  them  between 
the  rising  water  and  the  water  in  the  gully,  and  they  will  not 
fill  with  water  until  the  air  has  been  given  means  of  escape.  There 
are  two  practical  ways  of  letting  out  the  air,  either  of  which  can 
be  adopted  ;    the  water  may  be  baled  out  of  the  gullies,  which 
will  then  be  "  untrapped,"  or  the  air  may  be  given  another  means 
of  egress.     The  more  usual  of  the  two  methods  is  to  allow  the 
air  to  escape  at  the  gully  through  a  piece  of  india-rubber  pipe- 
old  garden  hose  will  do.      This  is  forced  by  hand  down  the  gully 
and  up  the  bend  of  the  trap  so  that  one  end  stands  quite  clear 
of  the  water  in  the  traps  ;    the  other  end  is  then  placed  in  the 
mouth  of  the  labourer,  who  blows  until  the  water,  which  has 
got  into  the  hose  in  its  passage  through  the  trap,  is  expelled, 
when  the  air  will  escape  and  the  water  rise  in  the  branch  drain 
until  it  reaches  the  water  in  the  gully  trap.      This  operation 
must  be  repeated  at  all  the  gullies  connected  with  that  section 
of  the  drains  which  is  being  tested,  but  not  until  the  water  in 
the  main  line  of  drains  is  standing  higher  than  the  junction  of 
the  highest  branch,  otherwise  a  misunderstanding  is  quite  possible, 
(i  round-floor  water-closets  should  be  dealt  with  in   the    same 
way,  but  as  they  are  generally  at  a  higher  level  than  the  gullies 
a  separate  operation  will  be  necessary. 

Before  leaving  the  question  of  underground  drains 
it  must  be  pointed  out  that  in  some  cases  a  double  line  of  pipes 
will  be  needed,  one  for  dirty  water  and  one  for  rain  water.     In 


172 


The  Modern  Home 

many  districts  with  public  sewers  and  a  sewage-farm  the  Bye- 
Laws  will  not  permit  rain-water  to  be  carried  in  the  same  pipe 
with  sewage  ;  and  where  a  cesspool  is  used  it  will  be  to  the  owner's 
advantage  to  provide  a  separate  tank  for  rain-water,  not  merely 
that  the  water  may  be  saved  for  use,  but  because  otherwise  more 
frequent  emptying  of  the  cesspool  will  become  necessary.  Also, 
in  the  case  of  bacteriological  treatment  the  smaller  the  quantity 
of  water  running  through  the  tanks  the  more  efficient  will  be 
the  working  of  the  filters. 

The  fittings  inside  the  house  and  the  necessary 
waste  and  ventilation  pipes  may  now  be  considered.  Although 
in  the  small  home  the  appliances  are  not  numerous,  there  is  a 
bewildering  variety  in  the  show-rooms  of  manufacturers  to  be 
viewed  and  selected  from.  Only  a  brief  reference  to  general 
types  can  be  here  dealt  with  to  indicate  differences  in  principle. 
At  the  outset  it  should  be  noted  that  every  internal  fitting  intended 
for  the  reception  of  dirty  water  must  be  trapped  as  close  to  the 
outlet  from  the  fitting  as  is  possible,  so  that  there  may  be  very 
little  open  pipe  between  the  trap  and  the  fitting  itself. 

Waste  pipes  from  Baths,  Lavatories  and  Sinks 
should  never  be  less  than  one  inch  and  a  quarter  bore,  and  long 
lengths  of  horizontal  pipe  should  be  avoided.  All  such  waste 
pipes  must  discharge  on  to  a  trapped  gully,  or  into  one  with 
an  inlet  below  the  grid,  but  above  the  water  line.  They  must 
never  be  connected  direct  to  the  drain.  In  the  best  work  these 
wastes  are  carried  up  above  the  eaves  and  away  from  windows 
in  the  same  way  as  soil  pipes  and  "  anti-syphonage  "  pipes  pro- 
vided to  all  traps.  The  anti-syphonage  pipe  is  for  the  admission 
of  air  to  the  waste  pipe,  so  that  the  rush  of  water  shall  not  cause 
a  vacuum  in  the  pipe  which  might  result  in  the  water  being  forced 
out  of  the  trap.  These  pipes  are  usually  of  the  same  bore  as  the 
waste  pipe  ;  they  are  connected  to  the  upper  section  of  the  trap, 
the  other  end  being  on  the  outside  of  the  house.  If  there  are 
two  water-closets  to  one  soil  pipe  an  anti-syphonage  pipe  of  two- 
inch  bore  should  be  connected  to  the  trap  of  the  lower  one  at 
least,  and  it  will  be  better  at  only  a  slight  additional  cost  to  connect 


173 


Sanitation 

it  with  the  upper  one  also.  This  should  be  carried  above  the 
eaves  by  the  side  of  the  soil  pipe. 

There  is  one  general  remark  which  applies  to  all 
internal  sanitary  fittings — they  should  be  as  simple  as  possible, 
no  ornament  of  any  kind  is  best,  and  certainly  no  ornament 
in  relief  ;  their  utilitarian  purpose  and  the  need  for  cleanliness 
about  them  should  always  be  kept  in  view.  On  sanitary  grounds 
there  can  be  no  doubt  that  the  type  of  water-closet  pan  known 
as  "  the  pedestal  "  is  to  be  preferred,  the  whole  apparatus  is 
in  view,  and  there  are  no  secret  hiding  places  for  filth.  Owing 
to  the  method  of  flushing  from  a  tank  placed  five  or  six  feet  above 
the  floor,  the  apparatus  has  the  disadvantage  of  being  noisy, 
and  in  the  small  home  this  is  often  a  serious  drawback.  Efforts 
have  been  made  with  some  success  to  combine  the  advantages 
of  the  pedestal  type  with  a  more  silent  action  by  placing  the 
flushing  tank  close  down  to  the  seat  and  at  the  back  of  it,  admit- 
ting the  water  to  the  pan  through  a  much  larger  pipe  than  usual 
and  increasing  the  quantity  of  water  used  at  each  flush.  The 
objections  to  this  modification  are,  slight  increase  of  cost,  waste 
of  floor  space,  and  the  objection  of  some  Water  Companies  to 
the  three  gallon  flush  in  place  of  the  usual  discharge  of  two  gallons. 
In  the  pedestal  type  of  water-closet  the  pan  and  trap  are  often  in 
one  piece  of  earthenware.  In  some  respects  this  is  good,  especially 
if  the  pan  is  fitted  with  a  joint  which  can  be  drawn  tight  by  some 
mechanical  contrivance,  instead  of  being  dependent  upon  putty 
or  some  other  cementing  material. 

There  is,  however,  one  variety  of  pedestal  closet  which 
should  be  carefully  avoided — it  is  usually  distinguished  by  the 
sub-title  of  "  wash-out."  It  has  only  one  advantage:  there  is  on  the 
bottom  of  the  pan  always  a  layer  of  water,  with  a  surface  of  greater 
area  than  in  the  ordinary  "  wash-down  "  type.  When  the  flush  is 
made,  the  contents  are  swept  to  one  side,  or  to  the  front  or  back, 
according  to  the  make  of  the  apparatus,  and  descend  into  the 
trap  through  a  long,  narrow  neck  which  is  quite  above  the  water 
in  the  trap,  and  soon  becomes  very  foul  indeed.  The  large  water 
surface  in  the  pan   certainly  tends  to  prevent   anything  adhcr- 


174 


The    Modem    Home 

ing  to  it,  but  this  is  not  enough  compensation  for  its  great 
defect. 

Another  type  of  water-closet,  older  than  the  pedes- 
tal and  differing  from  it  in  principle,  is  the  "  valve  apparatus." 
This  consists  of  an  earthenware  pan  with  a  metal  trap  below. 
In  addition  to  and  above  the  trap  there  is  a  plug  or  valve  to  stop 
up  the  hole  in  the  bottom  of  the  pan  and  retain  a  considerable 
quantity  of  water  with  a  surface  area  of  the  full  diameter  of  the 
pan.  The  valve  is  actuated  by  a  handle  at  the  side  connected 
with  a  somewhat  complicated  mechanical  arrangement  under 
the  seat,  which  also  controls  the  "flush"  and  regulates  the 
amount  of  water  to  be  retained  in  the  pan  after  it  has  been  washed 
out  and  the  valve  has  closed.  The  valve  closet  has  one  great 
advantage  in  addition  to  the  retention  of  water  in  the  pan — it 
is  reasonably  silent  in  action ;  on  the  other  hand  it  is  much  more 
complicated  than  the  pedestal  type  and,  because  of  the  machinery 
below,  requires  more  frequent  expert  attention.  Again  there 
is  the  objection  that  generally  this  type  of  apparatus  must  have 
a  wooden  casing  if  it  is  to  look  neat  and  tidy.  But  perhaps  the 
greatest  objection  is  the  fact  that  between  the  water  line  in  the 
trap  and  the  valve  there  is  a  space,  out  of  sight,  which  becomes 
very  dirty  and  gives  off  a  foul  smell  when  the  valve  is  opened 
at  each  flush.  In  all  cases  the  w.c.  seat  should  be  made  to  hft 
up,  and  what  is  called  a  "  slop  top  "  should  be  provided.  This 
is  an  earthenware  extension  of  the  top  of  the  closet  pan,  sloping 
towards  the  pan,  and  with  a  raised  margin  on  the  outer  edge  so 
that  anything  spilt  upon  it  will  run  into  the  pan. 

Of  "  Flushing  Tanks  "  there  is  even  greater  variety 
than  of  closets.  These  are  the  tanks  fixed  upon  the  wall  five 
or  six  feet  above  the  floor,  holding  two  or  three  gallons  of  water 
to  be  emptied  by  a  pull  on  the  handle.  They  are  all  or  nearly 
all  now  made  with  syphonic  action,  so  that  once  started  the  flush 
continues  until  the  tank  is  emptied.  But  there  is  hardly  any- 
thing else  common  to  them  all ;  each  variety  has  its  own  little 
trick,  which  must  be  learned  before  certainty  of  action  can  be 
reUed  upon.     It  is  a  pity  that  makers  do  not  combine — in  the 


175 


Sanitation 

public  interest  for  once — to  standardize  this  article  so  that  one 
kind  of  pull  will  do  for  all.  Until  this  is  done  the  only  way  of 
safety  is  to  visit  the  show-room  of  the  manufacturer  and  by  fre- 
quent trial  test  them  thoroughly,  one  by  one.  Unless  the  flush 
follows  immediately  on  any  kind  of  pull,  whether  fast  or  slow, 
jerky  or  smooth,  it  is  no  good  fitting  the  apparatus  in  a  house 
and  expecting  persons  of  varying  temperament  to  be  patient 
under  such  trying  circumstances. 

Sinks  are  not  of  such  great  variety.  White  glazed 
earthenware,  of  course,  without  ornament  of  any  kind,  is  best 
in  all  cases.  In  the  scullery  the  sink  should  be  large  and  shallow, 
with  plenty  of  outlet  through  a  fixed  brass  grid.  The  butler's 
or  housemaid's  pantry  sink  may  be  either  shallow  like  the  scul- 
lery sink  but  smaller,  when  the  washing  up  will  be  done  in  a 
wooden  tub ;  or  it  may  be  deep,  with  a  sohd  plug  and  an  over- 
flow to  prevent  accidents  should  the  tap  be  left  dripping  and 
the  plug  in.  Pantry  sinks  are  sometimes  entirely  of  hard  wood. 
These  are  good  if  in  constant  use,  but  if  allowed  to  remain  dry 
for  long  the  joints  open  and  may  leak  and  become  receptacles 
for  dirt.  The  old  lead-lined  sink  is  objectionable  in  many  ways. 
Its  surface  becomes  uneven  owing  to  expansion  and  contraction 
of  the  lead,  and  it  is  difficult  to  keep  really  clean.  A  better  but 
more  costly  metal  lining  is  tinned  sheet  copper,  but  the  tinning 
does  not  last  long  and  is  difficult  to  renew.  Whether  the  sink 
be  of  earthenware  or  of  other  material  the  waste  pipe  from  it 
should  be  large,  not  less  than  one  inch  and  a  quarter  bore,  and 
the  trap  must  always  be  furnished  with  a  screwed  stopper  to 
give  access  for  clearing  out  in  case  of  stoppage. 

Baths  are  made  of  glazed  stoneware  and  of  various 
metals,  cast-iron  being  the  cheaper,  and  having  much  to  recom- 
mend it  if  the  glaze  is  good  ;  they  may  also  be  obtained  in  tinned 
sheet  steel  or  of  copper  or  zinc.  The  stoneware  bath  is  good, 
and  until  recent  years  was  the  only  one  which  could  be  depended 
upon  to  retain  its  glaze.  It  has  the  disadvantage  of  being  very 
heavy  and  expensive.  In  public  baths  when  in  constant  use 
it  is  admirable — being  once  hot  it  retains  its  heat  for  a  long  time — 


176 


The   Modern    Home 

but  for  private  use  it  is  too  extravagant  in  its  consumption  of 
hot  water.  Copper  also  is  costly,  and  the  metal  being  necessarily 
thin,  the  enamel  is  hable  to  be  flaked  off.  It  must  also  in  all 
ordinary  cases  be  enclosed.  Its  one  great  advantage  is  that 
it  absorbs  but  little  heat  from  the  water.  Sheet  steel  is  cheaper 
than  copper,  but  has  the  same  disadvantage  in  respect  of  the 
enamel ;  also  it  is  subject  to  rapid  rusting  if  the  surface  gets  chipped. 
Cast-iron  is  by  far  the  most  common  metal  used 
for  baths.  It  does  not  absorb  a  great  deal  of  heat,  and  if  coated 
with  vitreous  enamel  will  last  for  many  years  with  very  little 
sign  of  wear.  As  the  glaze  is  actually  burnt  into  the  metal  it 
cannot  be  chipped  off  by  any  reasonable  means.  For  the  small 
home,  then,  the  bath  to  be  used  is  of  cast-iron,  with  vitreous 
enamel,  a  large  outlet  and  waste  pipe  and  the  simplest  possible 
way  of  letting  out  the  water  ;  there  is  perhaps  nothing  better 
for  this  purpose  than  the  old-fashioned  plug  and  chain.  On 
sanitary  grounds  the  bath  should  not  be  encased,  and  must  there- 
fore be  selected  with  this  in  view.  Here,  as  in  all  other  parts 
of  the  house,  there  must  be  plenty  of  fresh  air  and  no  lurking 
place  for  dirt  if  health  is  to  abide  in  small  homes. 

JOHN    CASH 


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A.  C.  ARMSTRONG 
NEW  YORK 


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D     000  1896307 


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7328 
S73in 


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